entrepreneur

LONG STORY SHORT WITH LESLIE WILCOX
Showbiz Masterminds

LONG STORY SHORT WITH LESLIE WILCOX: Showbiz Masterminds

 

The glamour of the entertainment industry can be alluring, but with its heavy business risks, there are no guarantees of success. Polynesian entertainment company co-owner Cha Thompson, former nightclub owner Jack Cione, and the late radio DJ and concert promoter Tom Moffatt are three “showbiz masterminds” who excelled at entertaining local audiences. Revisit these conversations about their journeys, lessons learned and passion for showbiz.

 

Preview

 

This program will be rebroadcast on Sunday, May. 5, at 4:00 pm and 11:30 pm.

 

More from Showbiz Masterminds:

 

Cha Thompson – Authenticity in Entertaining

 

Jack Cione – How to Hire a Naked Waiter

 

Tom Moffatt – Elvis’s Hat

 

Tom Moffatt – Elvis at Honolulu Stadium

 

 

 

HIKI NŌ
#1010 – A Spark from Within and other stories

HIKI NŌ Episode 1010:  Robotics captain John Fabella and other stories

 

TOP STORY

 

“A Spark from Within”
Students from Maui High School in Kahului introduce us to Maui High robotics captain John Fabella. John’s mother passed away when he was just seven years of age, and his father was deported. Growing up without his biological parents, John found an extended family in his Maui Waena Intermediate School robotics team and later, in the Maui High School team. Says John, “I made family through robotics. I made that family. It’s not the family that was given to me. My friends now, my brothers, you know, my sisters now. They help me every single day and they push me further.”

 

Program

 

ALSO FEATURED

 

–Students from Wai‘anae High School tell the story of a female wrestler who used to be teased and bullied about her weight, and lost the pounds to regain her self-esteem.

 

–Students from Hawai‘i Preparatory Academy Middle School in the Waimea district of Hawai‘i Island show us the proper way to saddle a horse.

 

–Students from Sacred Hearts Academy on O‘ahu report on “text neck,” a deformation of the spine caused by excessive texting and other uses of personal electronic devices.

 

–Students from Maui Waena Intermediate School in Kahului show us how a Maui family continues their New Year’s tradition of mochi pounding, even after the passing of the family matriarch.

 

–Students from Saint Francis School in the Mānoa district of O‘ahu profile a young entrepreneur who was inspired by his “tiger mom” to open an innovative ice cream business.

 

–Students from Nānākuli High and Intermediate School feature a young performing arts student whose biggest fan is his mother – even though she is deaf and not able to hear his musical performances.

 

This episode of HIKI NŌ is hosted by students from Island School in Līhu‘e, Kaua‘i.

 

 

 

LUCKY CHOW
Food as AZN

LUCKY CHOW: Food as Azn

 

The next generation of Asian Americans are redefining what it means to be Asian in the U.S. by keeping one foot in the past, and the other in the future. We talk to renegade chefs, entrepreneurs and cultural ambassadors from Canal Street Market to the dance party sensation Bubble_T to see what’s in store for the future of Asians in the mainstream.

 

Preview

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Manaola Yap

 

Kohala native Manaola Yap grew up processing dyes from native roots and plants, while helping his mother, kumu hula Nani Lim Yap, create elaborate hula costumes for performances. These early experiences now inform his brand of Hawaiian luxury clothing, Manaola Hawai‘i, which made its New York Fashion Week debut in September 2017.

 

This program will be rebroadcast on Sunday, Jan. 20, at 4:00 pm and 11:30 pm.

 

Manaola Yap Audio

 

Download the Transcript

 

Transcript

 

At a MAMo show, I wanted to make underwear, and I actually started with men’s underwear. And that’s a touchy subject. I mean, even at that time when we had first started moving into that space, I did get a lot of backlash. [CHUCKLE]

 

Why is that a touchy subject? I don’t get it.

 

Because it’s kind of promiscuous, and it’s sexy, and a lot of—

 

It’s too personal.

 

It’s too personal. And not only that; they’re like: Oh, you know, it’s exposed, and this and that. And I was like: Okay, well, let’s look at our kupuna. I mean, they were topless. You know, the body was celebrated, all these things. A lot of the mindset that comes from ignorance, and the ignorance of being schooled in the traditional concepts of the missionary mindset.

 

He’s a fast-rising star in the international fashion scene, while he remains firmly rooted in Native Hawaiian culture. The phenomenon known as Manaola Yap, next, on Long Story Short.

 

One-on-one engaging conversations with some of Hawaii’s most intriguing people: Long Story Short with Leslie Wilcox.

 

Top New York fashion houses learned a new name in 2017: Manaola Yap. The name belongs to a young Hawaiian from Kohala, who dazzled with his first runway collection at the prestigious New York Fashion Week. He wowed the audience with bold and modern designs inspired by his knowledge of Native Hawaiian culture. Manaola Yap was born on Hawaii Island to Edward Yap and Nani Lim Yap, who are both Hawaiian music teachers and entertainers deeply immersed in their cultural heritage. In addition, mother Nani, from the renowned Lim musical ohana in Kohala, is a much respected kumu hula. These parents gave their son a powerful and eclectic name, Manaola, which mean life force. It’s just part of his name.

 

First of all, there’s your name.

 

Yes.

 

And I’m not talking about Manaola. [CHUCKLE]

 

Okay. So—

 

How did you get your name? And what is your name?

 

My full name. Okay; so my full name is Carrington—

 

Carrington?

 

Yes; Carrington first.

 

Where did that come from?

 

So, Carrington actually came from Dynasty.

 

[CHUCKLE]

 

The soap opera. So, my mother and her friend loved Dynasty, and they loved Blake Carrington. And at that time, I think all women did at that time. [CHUCKLE] So, when they were in the hospital, they were watching … or during just that whole time through their pregnancy, they were watching Dynasty, the show. And they and they had a bet that whoever would give birth first would be Blake, and the second would be Carrington. So, her son is Blake, and I’m Carrington.

 

And has anyone ever called you Carrington, really?

 

Yeah. It’s kind of funny, because I feel like my name changed throughout my lifetime thus far. So, I have people that still call me Carrington from, you know, certain events and circles of my mom’s social circles that she has. And then, some call me Manaola, some call me Mana, some call me Bubba. A lot of people call me Bubba.

 

Why Bubba?

 

My sister used to call me Bubba when she was small. And a lot of people in our hula halau, and that’s close to the family. In my family too, they call me Bubba. So, it’s definitely changed. So, Carrington is my first, Edward is my middle name. Well, one of my middle names; that’s from my dad, got that from my dad. So, Carrington Edward, and then Manaolahoowaiwaiikaleikaumakalani. [CHUCKLE] It’s a long one.

 

Now, if Manaola means life force, what does the rest mean?

 

The whole idea, because the name can be read in many different ways. Manaolahoowaiwaiikaleikaumakalani is heaven’s power of life enriching the beloved child. And my aunt, who named me, she’s a late kumu hula, her name was Joan Lindsey, she’s ohana on my mom’s dad’s side. And when she named me, she named me with the intention that everyone that will look upon Manaola in his lifetime will be looked upon with love, with eyes of kindness and love only.

 

Do you think names shape you?

 

Definitely; I’m totally a firm believer in the belief of a name and the energy that a name has once it’s borne into the air. Totally.

 

I know your mom is part of the Lim family, which is legendary. Would you tell us about her family, and then your dad’s family?

 

Yeah.

 

The Yap family.

 

My mom’s family is the Lim ohana. They used to live up on Puu Hoi Ranch. My grandfather was the foreman for Parker Ranch; he’s one of the original cowboys. They grew up in a very, very country style traditional home. My grandpa on my mom’s side was also very Chinese, as well.

 

And there are members of the family all over the Kohala side, generally performing, generally music.

 

Yeah; lots of music and dance, too. My cousin Namakana, she’s actually a Miss Aloha Hula. She’s a really, really beautiful dancer, as well. And aside from our main family, my mom’s also graduated a bunch of kumu that have passed on her legacy of dance. And not even just dancing alone; my mom has also shaped them into beautiful women.

 

And is your father on the creative side, as well?

 

My dad’s super-creative. So, Edward Yap; he’s from Honolulu. My dad and his whole family; very, very loving as well.

 

Your father is Chinese, or Chinese Hawaiian?

 

Chinese Hawaiian; yeah. So, my dad’s Chinese Hawaiian side, he grew up doing a lot of kung fu, martial arts, and all of that, and then, passed that on to me, as well.

 

From a young age, Manaola Yap gravitated toward performing arts and design. By age thirteen, he already started one of several businesses that would help him express his passion for the arts, and put money in his pocket.

 

I always also had a fascination in Asian art and artifacts. Actually, all kinds of ancient artifacts from all over the world. I was also known in my community in Waikoloa. Still yet, they still kinda know me, the old-timers; they know me as the boy that did the garage sale. So, I used to have this big garage sale in our garage, and in our whole lot, actually, full of muumuu, old costumes, fabric, kitchenware, old furniture. All kinds of stuff.

 

And did people negotiate with you?

 

Oh, all the time.

 

And did you like that part?

 

I loved it.

 

[CHUCKLE]

 

But in the midst of all of this, ‘cause I know how collectors work, I would put one artifact. Like, I’d put a bunch of, you know, junky things, tchotchkes and all that, and then in the middle of that, I’d put like a Ming Dynasty sculpture in the middle, and just see. Because you can tell if a collector has an eye. And they’ll kinda like pick it right out of the bunch, and they’ll just walk by and be like: Oh, my god, like, they probably don’t even know what it is. [CHUCKLE] And the first piece I sold was a wooden Kwan Yin statue. And I think I sold it for like, six hundred bucks. Should have been sixteen hundred, at least. Sold it for six hundred bucks. And my dad’s like: What are you doing? He’s like, You’re not gonna sell that here. You know, he was like: I don’t think people are gonna buy that kinda stuff. And this guy came out; he was like: How much is that? I’m like: Six hundred bucks. And he pulled out cash, and my dad was like, whoa.

 

And how old were you at this point?

 

At that point, I was like thirteen; twelve or thirteen. Yeah. And a lot of people would come in. And at that time, you know, purchases with designers that were coming in were already spending around seven to eight thousand dollars at a time, in my house.

 

On the Kohala Coast of Hawaii Island, Manaola Yap’s mother, Nani Lim Yap, creates hula shows based on Hawaiian mythology. As a keiki, Manaola would assist in the creative costuming, which would set him on the path to fashion desing.

 

Being in the entertainment business in the Kohala Coast, it was important for us to figure out a way to engage the audience, because they didn’t understand much of what we were doing, or dancing about. So, what Mom started to do, a lot of different people started to do is, create little hula dramas, even in her productions. So, hula dramas where we would explain, you know, the storyline. We’d read a story, tell you what the story is about, and then dance the dance, so that you could make the reference of: Oh, she’s pulling something or, Oh, a volcanic explosion happened. Those kinds of things, so that they could see us becoming the dance, and really make that connection and help them be engaged in the story. So, when that happened, that lent for creative costume. It gave us the creative freedom to be able to step outside of the box, and really start to be expressive in our costume. ‘Cause we were able to look at mythology and say: Oh, she wore a skirt of flames, or Oh, she wore a skirt made of lightning bolts.

 

As the person who’s gonna come up with this costume, how do you do that? What comes to mind?

 

That was the most exciting part of my childhood, the fact that every day, like, my mom was putting together a show, she’d be like: Okay, we have to make a headpiece for Namakaokahai. Okay, she’s the sister of Pele, she’s the sea goddess. Okay, so we’d go to the ocean and we’d find things and be creative.

 

How fun.

 

Yeah.

 

And deep.

 

And deep; definitely. Or we’d go to the forest and be like, okay, Hiiaka, she had pau palai, which is a skirt made of palai ferns.

 

M-hm.

 

So, we’d go and, you know, gather those kinds of things, or look at, Okay, how can we imitate this fern through this fabric, how can we texture this, how can we, you know, add a train that looks like a lava flow. That whole thing really was a start of me getting into costuming and fashion. And what would happen is, after the show was done, even with our myth show, we had girls that were like: Oh, my god, could I borrow this top to go out after? Like, I’m just gonna put jeans with it. And you know, they would go out, and they’d use it. Or they’d be like: Oh, you know, I have a red carpet event, or I’m going to this fancy dinner, can I wear this outfit? And that whole thing started a conversation with other artists or other friends, dancers that would be like: Oh, you know, I’m going to the Hokus, can you make me this outfit; this should be at the Hokus, you know, not just in a show. So, I was like, okay. So, I would create different looks for them, but everything was always done by hand; you know, the concept. I’d draw the concept, we’d cut the patterns, me and Mom would cut the patterns. And Iwa; Iwalani too, she was a really, really important part of my journey, Iwalani. She has her own line, Iwa Wai. But she also was a very close friend that helped me with my construction in summer.

 

You had crossed that divide. You had decided, I’m now gonna charge for costuming, for clothes.

 

Not even yet.

 

You’re doing this for free?

 

I was still doing that for free, even for the Hokus. I didn’t know how. You know. I think the first person I charged … even that was really hard for me.

 

Well, they were your friends, too.

 

They were my friend, too; right? And the way that we create is, I want to know them first. I want to know what is something that they’re missing, or are they a very aggressive person, what can I do in this design to soften that, or help to balance them. That’s what our job is.

 

Well, that sounds a little spiritual, right there.

 

Yeah; totally. So, that’s actually what the brand is based off of, that concept of balance for lifestyle.

 

And somehow, you worked through your feeling like: I can’t charge for this, this is spiritual, this is mana.

 

Definitely. Because what I was able to do is, I was able to see that this piece created … one thing for sure, it’s definitely a different time. Yeah? So, one thing is the times have changed, and there’s that adaptation to time. And also, that the piece itself has been able to change someone, and create more money to create more products, to change more people, and to move our mission forward to help to sustain indigenous culture.

 

Manaola Yap began creating fashion pieces for the Maoli Arts Movement, or MAMo, a festival that celebrates Native Hawaiian art. In 2014, he decided to make a bold statement at MAMo with his very first clothing line.

 

When we did the underwear, that was the scary one for me. Because I was like: Mom, I’m gonna make an underwear. My theme was Kumulipo, we did all the first wa, which is all the animals and the sea creatures. And there was this boy, and he really was an aspiring underwear model, so I was like: Okay, you’re perfect, we’ll do him. He had a great body and all this. And my mom sewed the underwear. So, we cut the underwear, we printed it, we sewed it. And I just remember, you know, we’re in the back, and … it was a big move for us, you know, to even put him out there. We were just like: Oh, my gosh. First of all, even the whole collection itself was artistically very beautiful. Some things were a little sexy. And you know, we had gone to the rehearsal, we had seen the regular muumuu, the traditional beautiful arts, tattoo, and all these different things. And … I literally went in the back, and I was like, freaking out. I was like: Mom, they’re gonna think we’re crazy. I was like: I can’t do this, we gotta pull out of this, we can’t even present. And she’s like: Oh, absolutely not. [CHUCKLE] She’s like: We just came all the way over here.

 

She’s a rock, isn’t she?

 

Yeah, yeah. She’s like: No, no. She’s like: What is your intention? You know, I had listed my intention, this is what I want to do. And then, even with the underwear, I was like: Should we take it out, should we not do it? She’s like: What’s your intention? I was like: Okay; well, I’m trying to think like a smart Hawaiian here. Okay; a smart Hawaiian businessman, we’re looking at underwear. Okay; first of all, Hawaiian underwear is sexy. Right? And that’s what drives this marketplace, whether you like it or not. And any marketing advertising is gonna tell you that is the main attraction, human attraction to sales. It’s a sexy thing. Two, I’ve always wanted to see a Hawaiian man underwear model ad, big. We’re still working on it.

 

[CHUCKLE]

 

I also looked at the underwear being something we need every day. You know, that’s something we use every day, and it makes you feel good. I love a good pair of underwear; they’re always under my basketball shorts and my tank top. But, that is something that we always want to use. So, she’s like: Well, if that’s your intention … there’s your intention. And we’re like, freaking out in the back. Of course, now things have changed, ever since we’ve opened that gap. But if you look at it before, we’re just like: Oh, my god, like … you know, should we like, do a reveal, or should we like, have him just be like, boom, he’s in his underwear. You know, like, what do we do?

 

What happens is, you feel naked.

 

Yeah, yeah; exactly.

 

And you’re exposed.

 

Exactly; we’re exposed. So, we’re like: No, you know what, do all your traditional protocol, do your oli like you normally do, and then on the end, we’ll put him out. So, he had a tie on, he had like a wrap on. And you know, he’s just walking out, and everybody’s just like, watching. And all of a sudden, he just drops his wrap. And all the forks and everything, you could just hear go, clank.

 

Clatter. [CHUCKLE]

 

And just dead silence, and everybody was just like … looking at him. And then, I was like: Oh, my god, they’re gonna kill us. And it was so funny, because I had a lot of traditionalists that were in the audience, too. We had, you know, a lot of kupuna, too. But the funny part was, when I was outside, you know, like taking pictures with my gang, so many people too, that were … I won’t mention their names, but very, very influential people in the Hawaiian community, they came up to me and they were like … Oh, my god, brother, don’t tell anybody, but that was awesome. I can’t believe you did that; that was the most amazing thing that ever happened.

 

So, private approval.

 

Yeah; private approval, you know. And then, later on, you know, I even had some artists too that later on did buy my underwear. And they’re like: [GASP] I have your underwear on right now, they’re so cool. But don’t tell anybody. You know, that kinda thing.

 

But I mean, you want to create something that will be useful.

 

Exactly; useful, for sure, and comfortable and fun. And that’s why with that underwear, I feel like you could feel as that whole wrap dropped, that the whole history of Hawaii changed that day.

 

Manaola Yap learned traditional Hawaiian clothing techniques through his kupuna, and he picked up modern design through experimentation with his mother’s creative hula costuming. He knew early on that college and fashion school were not for him.

 

My background in design, and everything that I do, comes from hula, from dance. You know, I do not name myself to be a designer that went to school and did all of that. I never really pursued going to fashion school. And it wasn’t really necessarily because I know it all, and I knew it all, and all that. It was more so because I also didn’t want to tamper with the organic nature of my mind and my creative mind, and how it was nurtured in that space, especially being on the Big Island. I didn’t want anything to interfere with it, so that I could keep it as authentic as possible. Because that is something in the industry that … corporations at large have the hardest time to develop, especially when selling to a consumer or to even make that exchange, you know, in business. So, that was my choice; from a long time, I was already thinking ahead.

 

Pewa, for me, was created … it’s a very traditional design, and this sample can actually be found, the original sample can actually be found in the Bishop Museum, where a lot of the native artifacts are kept. I chose pewa because for me, it spoke to me on a different level. Pewa are the fishtail repairs that are used in woodwork, in traditional woodwork. And I bent the patterns back and forth because in today’s time, we’re open to a lot more new ideas.

 

Just three years after launching his Native Hawaiian inspired clothing label, Manaola Yap was able to establish a retail store called Hula Lehua at Ala Moana Shopping Center. Then came the national spotlight; he received a coveted invitation to showcase his collection at the prestigious New York Fashion Week 2017.

 

They actually came upon us by reviewing Honolulu Fashion Week, which is a production that’s done by Lynne O’Neill and Honolulu Magazine. But they went online, and they watched that whole, you know, Honolulu Fashion Week, and watched all the designs. And then, they had sent us the invitation. So, out of the eight thousand, there’s about twenty-four designers that show throughout four countries, which is London, Paris, Milan, and New York. And out of those twenty-four designers, only ten designers get exclusive shows. We were very honored to have been able to show a full collection, which is super-crazy, especially for our first time in New York.

 

How much time did you have to get ready for this?

 

We had about three weeks.

 

Three weeks?

 

M-hm.

 

What did you have to do, to get ready?

 

Everything from … we textiled everything from scratch, we had to print all the fabrics from scratch, cut and sew. We had to fit, we had to silhouette all the pieces. And I’m a crazy, so we actually had more than the amount of pieces that we put in. We finished at about forty pieces; we did forty looks in that collection. It was actually the largest collection Oxford had ever shown in all four countries. Period. Which was kind of crazy. [CHUCKLE] But that’s always how I’ve been. I just love creating things, so yeah; it was definitely a crazy journey. We also broke some of the rules, because we really, really wanted to share some of the local talent, especially with the models. ‘Cause we had been working with these models that have supported us all these few years.

 

Normally, you would use the models up there.

 

It’s usually only industry models.

 

Oh; so how did you get the local girls in?

 

So, when they looked at us, they loved the fact that we’re based in indigenous culture, and that we’re a cultural label, which is something that they had only really seen a lot in African designers at the time, Indian designers, Chinese, Japanese, those kind of things. But nothing in the context of looking on the Polynesian side, for couture especially. So, when they seen that, they thought that that was super-interesting. But I was like: Okay, if that’s the thing, then you have to have some Hawaiians then, because that’s the uniqueness of the brand, and that’s what makes us who we are; it’s the people. We also had some that were native-speaking, which was very, you know, important to us, as well.

 

And I understand you had a Go Fund Me campaign.

 

We had a Go Fund Me campaign.

 

You didn’t have a bunch of money lying around to go to New York with all these people.

 

Oh, no; not at all. Yeah; we did not have the the means to go. ‘Cause even when we first did it, I was like: There’s no way we’re gonna go to New York. You know. ‘Cause our company is based on organic growth, completely.

 

Were you behind stage, or next to the runway? Where were you?

 

Oh; I stood on the side of the runway so that I could watch. It was an intense moment. Even the people in the audience, I think, a lot of them were pretty blown away, because especially how we started the show. We started with protocol. That’s usually how we always start. I always start with a hula. And for me, that’s creating the ceremony for us as a label for this time as a brand is, I always set hula first. Because like I said, hula is where I come from. That is my world, that is what I know. You know. And that’s where my source of inspiration, and everything is borne from that place. So, I use that ceremony and that dance to start um, our runway shows.

 

Does an individual garment tell a story?

 

So, it depends. Some pieces have different inspiration. So, some things are basic silhouettes that are, you know, flattering, comfortable, especially to what the market is bearing at the time. I have one top that is very special to me; it’s called the Hihimanu top. The Hihimanu top is inspired by the Hihimanu, its namesake, which is the big stingray, manta rays. You know how they have those big wings, and their tail. Then, some of them, I get really, really intense with. And then, that was the last piece that was on the runway, one of our finale dresses. That piece was dedicated to Liliu, Liliuokalani, our last reigning monarch. So, creating the mourning garment to mourn the loss of the lahui, of the Kingdom, in remembrance of Liliu, and in remembrance of the Kingdom, but also to show the forward movement in that garment. So, the garment is actually all black, and it’s the only piece that was all black in the whole collection.

 

Did you get a good crowd for your appearance?

 

Yes. Our show was actually over sold out. But yeah, I think it was great. And it was really good for us to go up there, especially for Hawaii.

 

[DRAMATIC MUSIC]

 

Anything that we do outside, our heart’s always here first. And you know, whether it be New York or London, Paris, wherever we may go next, it’s always making sure that we have that sense of pride at home, because that’s our home base.

 

Because of his selection for New York Fashion Week, Manaola Yap gained the opportunity to showcase his work at the other fashion weeks in London, Paris, and Milan. In 2016, Hawaii Business Magazine celebrated Yap as one of its 20 for the Next 20, and Honolulu Magazine named him Islander of the Year in Fashion. It’s quick and high ascent for Manaola. At the time of our conversation in Fall of 2017, he was just thirty years old. Mahalo to Kohala native Manaola Yap, now living in Honolulu, for sharing your story with us. And thank you, for joining us. For PBS Hawaii and Long Story Short, I’m Leslie Wilcox. Aloha nui.

 

For audio and written transcripts of all episodes of Long Story Short with Leslie Wilcox, visit PBSHawaii.org. To download free podcasts of Long Story Short with Leslie Wilcox, go to the Apple iTunes Store or visit PBSHawaii.org.

 

I used hula as a … example. I looked at hula, and I looked at … ‘cause I always go back to the dance. Any time I’m stuck, any time I need an answer, I always go back to the dance. And sometimes, I even just dance, myself, because it gives me that clearance and that space for me to think.

 

[END]

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Lanai Tabura

LONG STORY SHORT WITH LESLIE WILCOX: Lanai Tabura

 

Named for the island where he was born, Lanai Tabura is well-known for his talents as a DJ, comedian, television host, actor and entrepreneur. Now he dedicates himself to one of his earliest passions – cooking – to share aloha across the globe through food.

 

This program will be rebroadcast on Sunday, Nov. 4, at 4:00 pm and 11:30 pm.

 
Program

 

Lanai Tabura Audio

 

Download the Transcript

 

Transcript

 

I know so much about food, which is interesting. And it never came out of me until I started doing these pop-up dinners and these speaking engagements.  I did a Poke 101 class for Pinterest.  All these kids—you know, I say kids because these tech companies are all kids.  And all they know about poke is, it comes from a store.  So, I got to teach what poke really is, where it came from, how it became, and all this stuff.  And when I was done, my friends goes: How’d you know all this stuff?  I go: I don’t know.

 

So, you didn’t go look it up.

 

No.

 

You had it in your head.

 

Yeah.

 

And your heart.

 

Yes.  And your heart is the thing.  The intent; right?

 

M-hm.

 

So, I am realizing as I’m getting older, I can do anything I want, as long as there’s good intent.

 

Lanai Tabura has been doing just about anything and everything in broadcasting since his first television audition when he was six years old.  DJ, comedian, television host, actor, entrepreneur; his passion has turned to cooking, and he has dedicated himself to sharing aloha across the globe through food.  Lanai Tabura, next, on Long Story Short.

 

One-on-one engaging conversations with some of Hawai‘i’s most intriguing people: Long Story Short with Leslie Wilcox.

 

Aloha mai kākou.  I’m Leslie Wilcox.  Lanai Tabura, who was named for the island where he was born, knew from a young age that he wanted to be in front of the camera.  He became a familiar name early on in his life for being a disc jockey at a popular radio station, and then for his comedy.  It wasn’t until later that he became known for his cooking, and rose to national attention when his team won the Great Food Truck Race.  Yet, cooking was one of his earliest life lessons. Lanai had to grow up quickly when his father left, and his mother went back to work.  As the oldest child, home responsibilities fell to him.

 

I grew up on a plantation.  My father left when I was young.  Three brothers.  And my mother said one day: I gotta go to work, I can’t stay at home with you guys anymore; you’re gonna have to step up.  What does that mean, you know, at twelve years old.  Step up; what do you mean?  I’m not gonna be home ‘til nine, you gotta cook dinner.  Cook dinner?  I’m twelve years old.  For three kids.

 

And how old were your brothers?

 

Makani, who’s right under me, is two years younger than me.  And then, you had Adam, which was five years under him.  And then, Stevie, which is a year under him.  So, you know, the youngest were four, five years old.  And then, Makani was ten.  You know.   So, that’s tough, you know.  And you grow up on an island where there’s not a lot of … which I think was good.  There was no fast food.  The stores closed at six.  I think the life-saver about our grocery store; you could charge.  Remember those days where you go: Oh, put it on the Tabura’s tab.

 

Exactly.

 

My mom’s tab.  And at the end of the month, you get the bill; right?  And then, you can divvy up.  But my father left with every penny in the bank and the clothes on his back.  Left us in a two-bedroom house, plantation style.  And we had nothing.  Zero, you know.  I remember when we applied for welfare, I was so embarrassed.  ‘Cause it’s Lāna‘i; everybody knows your business.  I was like: Mom, I can’t take this book to the store; people are gonna know we’re on welfare.  Today, they have a credit card.  Back day, they were pages of books.

 

But they also knew your dad had left.

 

Yes.

 

They knew everything.

 

Everybody did; everybody did.  He went to the airport and left the car.  For two days, we didn’t know where he went.  Two days, you didn’t know where he went, and then we found the car at the airport.

 

Did you ever reconnect with him?

 

Never.

 

You ever want to?

 

No, but I forgave him.  There was a point in my life where I was so angry about it. There was a point where I would go in the bathroom in high school, and cry.  ‘Cause like: Why, why?  What’s wrong this guy?  You know. And all that anger, of course, built up to bitterness.

 

And bitterness really poisons you, too.

 

That’s the word; very bitter.  And then, I was on a cover of a magazine.

 

Why?

 

I think it was for a TV show I did.  I was in my early twenties.

 

Okay; early twenties.

 

Yeah.

 

Got it.

 

It was a TV show I did, and I was on this cover. And he saw the cover, and he was in the mainland, and he wrote to the editor and said: I think that’s my son, I need to get ahold of him.  The editor wrote me like five times before I finally wrote back and I said: Yeah, that is my dad, you can send me his info.  So, the only contact I’ve had with him was through two emails.  One was him apologizing to me for what he did, and mine was forgiving him for what he did.  And I said: That’s it; you’ve finished this chapter for me, ‘cause now I feel this pressure is off, and I feel that I can move on now, the bitterness is gone.  I said: If you want to contact my brothers, it’s up to you and it’s up to them, ‘cause we’re all adults now.  So, that was my last contact with him.

 

Did he try to reach your mother?

 

No; and you know, my mother is not the type to talk bad about anybody.  So, she always made it open.  You guys want to talk to him, you can call him; you want to see him, you can see him. ‘Cause he will always be your father. But to me, a father has a different meaning.  He’ll always be my dad.

 

Right; that’s a verb.  Right? It’s what you do.

 

Yeah.

 

So, really, these are really formative things that happened to you.  I mean, things that change you.

 

Big time.

 

So, you were twelve years old thinking … Where’s the food that I’m supposed to cook for dinner?

 

Yeah; yeah.  So, if it wasn’t for my grandparents, who taught us how to grow vegetables, I don’t think we would have survived.  And my grandfather really became the father figure, even though he was a very harsh man.  He was Mr. Miyagi; everybody called him Mr. Miyagi.  He would teach you through lessons; he wouldn’t tell you.  He wouldn’t tell you that the fire is hot. He’s gonna give you a lesson, you know, or he’s gonna somehow drum up something so you go through the experience, so you get the lesson.  And then, he’ll ask you after.  That kinda guy; very old school.

 

Did you learn well that way?

 

Lots.

 

Was that a good way for you?

 

Yeah; I think so.  Now that I think about it, yeah.  But at the time, I’m like: God, you—

 

Why doesn’t he just say what he means?

 

Yeah; yeah.  Why don’t you say, you know.  I remember when I was a junior in high school, I wanted to go to junior prom. And my mom said: You can’t; we don’t have any money.  Expensive, you know, a tuxedo and everything.  And my grandfather was listening to the conversation.  And he goes: Hey, come outside.  So, I go outside.  He goes: You see this cabbage; not growing good.  Help me.  I said: What do you need me to do?  We need to till the ground.  Start tilling the ground.  Next thing you know, it’s an hour in, I’m sweating.  I’m like: How did I end up tilling cabbage?

 

What’s going on here?  Next day he goes: Tomorrow, I going come back here one o’clock. You help me; we’re gonna plant new cabbage.  So, he shows me how to plant cabbage.  This goes on for, you know, three, four months.  Comes time for junior prom.  Boy, come outside.  He goes: I need you to help me pick the cabbage; too heavy, my back sore.  I get a big bag, fill up the bag with cabbage. Let’s go to the store.  We go to the store, we sell the cabbage.  Look at all the money; I go: Grandpa, look at all this money.  What are we gonna do with it?  He goes: You go to the prom.  Three-month lesson.

 

Yeah; that is a great formative lesson.

 

Yeah.  But he did a lot of stuff like that.

 

And then, how did you learn to cook it?

 

Trial and error; trial and error.  Salt and pepper, you know.  That’s all you had.  It’s not salty enough, put more salt.  You know.  Too much pepper, put less pepper.  And then, of course, you watch your grandparents cook, you watch your mom cook when there were those days.  You really paid attention, ‘cause you didn’t want to just eat Spam and rice every day. You got tired of Spam and rice every day.

 

Did you think it was drudgery, or did you enjoy this?

 

You know what?  I enjoyed it; I enjoyed it.  It became a competition amongst the brothers.  You know, my third brother Adam became an amazing chef.  He cooked for Steve Jobs.  He’s cooked for all these different celebrities.  You know, we won the Food Truck Race because of him.

 

So, this life event that could have really unnerved you and really put you on a bad trajectory, it actually turned out to be something that became embedded in your life and a springboard.

 

The biggest blessing in disguise.  Everything happens for a reason.  And I think things would be much different if my dad was in my life.  And it could be way better, it could have been worse.  It would have been a different path, for sure.

 

Lanai Tabura wanted to be on television from the time he was a little boy.  After graduating from high school on Lāna‘i, he headed to O‘ahu to attend Hawai‘i Pacific University.  He didn’t stay long, though, because he found a new passion.

 

I went to a floor wax audition.  And it was a thousand kids, and my cousin ended up getting it.  But I was so fascinated by the concept of it.  Like: Wait, do it again?  What do you mean do it again?  You know. I was like six or seven years old. And I was so fascinated about the concept of you can be in front of this thing, and then people can watch it later. And I was fascinated about television, and I was fascinated how people can act like somebody else.  And then, you started watching television, I started watching Checkers and Pogo, and I started watching Andy Bumatai, High School Daze, and I started watching Booga Booga.  And it fascinated me how they can make people laugh, and how they can act like somebody else and make people laugh.  That was the fascination, I think.  I never thought I’d do standup comedy.  I started doing standup comedy ‘cause of James Grant Benton, Augie, and Andy. That was just a hobby.  I wanted to do standup comedy because of the timing; the timing part of it.

 

Which is the hardest part.

 

Yes.  And I found out that if you can master the timing, you can say anything you want. You can act, you can host, you can do interviews.  You know, radio really helped me with the timing part on interviews as well.

 

How did you get to O‘ahu to do all of this?

 

I had a scholarship, believe it or not, for volleyball. Hawai‘i Pacific University, Nahaku Brown did a clinic on Lana‘i, and I was a pretty good volleyball player.

 

You were all-state.

 

Yeah.  Oh, thank you.  Nobody knows that.  But anyway, she was offering a management scholarship, ‘cause they were gonna start an NCAA team.  Turned into a club team.  I got into radio at the same time, and then kind of moved out of it.

 

What’s a management scholarship?

 

They offer a couple scholarships for people to help with volleyball teams, like the women’s volleyball team.

 

Oh, I see.

 

So, you know, the guy that sets up the court, and you know, gets the water, and you know, gets ready for game day, gets the uniforms ready.

 

She saw your business side.

 

Yeah.  Yeah. Thank you, Nahaku.  But yeah, she really is the one that got me to Oahu.  ‘Cause we couldn’t afford college at all.  My mom was pissed when I dropped out.

 

Why did you drop out?

 

Radio.  When I started, my first day of college was my first day of my radio gig.

 

Oh …

 

Yeah.

 

There was competition between the two.

 

And it took over.  It took over not a little bit; it took over a hundred percent.  I was so fascinated by radio.  Again, I can tell people what to do, and they don’t even see me.  This was pre-Facebook, My Space, social media.  So, you know that everyone’s listening to you.  We had a twenty-one share at night, which was like three out of every five teens listening to us at night.

 

That’s phenomenal, because there were so many radio stations.

 

Yes.

 

I think we have the highest per capita in the nation.

 

Yes.  We did; there was like thirty radio stations for a million people.  You know.  But I was so fascinated by radio, and that was it.  I was indulged in it, you know.

 

And it paid you, too.

 

It did.  And that was the other thing; it paid me.  Right?  College wasn’t gonna pay me.  Working part-time at San Francisco Rag Shop was paying me pennies.  And being in radio, my first year was minimum wage, but after I proved that I could do what I could do, ho, I was living it up.  You know.  I had a car, I had a house, a condo.  I had a tab everywhere I went, because everybody wanted you to talk about their bar or their restaurant.  You know.

 

And yet, did you foresee what would happen to radio?  I mean, it hasn’t died like many people predicted.

 

No.

 

But it’s not the same; it’s a lot of consolidation and recorded voices.

 

Yeah.  There was one thing that I really … I really saw clearly, that it was gonna come to an end for me.  I saw it ten years before.  I’m still in radio, by the way.  I do shows in Japan.  But the actual twenty-four/seven, nine-to-five, working in radio every day, I saw it ten years before it even came.

 

You knew you would be recording your voice, and it would be played on different channels.

 

Yes; yeah.  I seen it.  ‘Cause now, I can eliminate that person, I can eliminate this person.  So, unless you were at the top of the food chain, you weren’t gonna get paid, ‘cause you were gonna be one of the people eliminated. Right?  So, I started my TV career, ‘cause I knew that I needed to get out of something else. And then, I started my entrepreneurship.  Try everything, what do I like, what don’t I like.

 

I wonder if one of the reasons you did the entrepreneur—I don’t know if it was innately inside you, or did you see fewer opportunities that were already created for somebody like you?

 

It was my mom.  Such a great question.  It was my mom that told me: What do you want to be?  I don’t know; I want to be on TV.  How do you know; you never try ‘em.  Right? Well, what you want to do; you want to be a realtor?  How you know; you never tried it.  You gotta try it first.  You gotta go see what it is first.  What if you don’t like the format?  What if you don’t like how it works?  What if you don’t like the politics of it?  You know.  What you going do?  That’s why until today, I was like, if I get opportunity—I look at everything as opportunity, by the way.  If I see opportunity, I’m gonna go dig into it.  I’m gonna go dig, and hey, how does this work?  I want to try.

 

And you’re willing to give your time to try it out?

 

Yeah.  I could die tomorrow.  I could die tomorrow; and then what?  My best friend died when he was thirty-five, and it was another huge lesson to me to try things.  Don’t be afraid.  I’m always gonna pay taxes, I’m always gonna work, so why not try it.  You know.  I commend people who can do something for thirty years, forty years, you know.  But it’s kinda not for me.

 

So, if you had a choice between a good, steady job and this tantalizing opportunity that you didn’t know if it would pay off, what would you do?

 

Tantalizing, one hundred percent.

 

Yeah.

 

A good, steady job is boring to me.  And it’s for other people.  You know, I commend you again.  That’s good, if you could.  I wish I could, because it’s security; yeah?  But it’s so boring to me.  It’s so boring.  I have so many wealthy friends that have been doing the same job for a long time, and they’re miserable.  They ask: What are you doing now, how come you’re doing this?  It’s like they tell me: I live vicariously through your social media, or your Instagram or, you know.  And it’s not that I’m trying to brag about what I do or anything.  I just do stuff that I love to do.  I want it to be fun.  Everything has to be fun.

 

And you’ve made it pay off for you.

 

It’s going to pay off.

 

It’s going to pay off.  Six years ago, I went bankrupt.  I lost three houses.  I think I had four cars.  For what? It was nothing, cars were nothing, the houses were nothing.  But it was a huge lesson, and I’m still going through that lesson, you know.  So, now, I have a new guard.  How do I not go through the same mistake; right?

 

Well, maybe you were trying to control circumstances before, and now you try to control yourself. 

 

Yeah; that’s what it is.  It really is.  I never had money before, and when you hear these stories about people who won the lottery or have done good.  You know, Larry Price always used to tell me: You’re not going get rich yet.  And I go: Why you always tell me that?  He goes: ‘Cause you need to learn, still.

 

Oh …

 

It’s not your turn; it’s not your turn.

 

So, did you just go crazy because you had available money that you didn’t before?

 

Oh, yeah.  And I went crazy in a sense of not just for me; taking care of other people. Which I should have … you know, I didn’t have kids.  I wasn’t prepared for that.  Nobody teaches you that.  You know, no one teaches you about taxes.  In school, they don’t teach you that.  No one teaches you that it can run out.  No one teaches you that this job can end.  You know, that kinda stuff.  So, I’m going through it every day still, today.  I think I’m gonna be that guy that doesn’t retire; for sure.  I love to work.  So, I’m gonna be working.

 

But you are gonna save money; right?

 

I’m gonna; yeah.  I started.

 

Because that’s the thing, is when you’re always living hand-to-mouth, regular savings is not a …

 

Yeah.

 

It’s not something on your list, because you don’t have it to save.

 

Yeah.  And it’s not part of your ritual, it’s not part of your everyday thing.  Because you never had it.  You know, I never had it.

 

And then, you assume if you have it, life will be easy.

 

It’s not easier.  It doesn’t get easier.  I think it gets harder.  You know, more money, more problems.  You know. It’s funny, ‘cause when you get more money, you think: Okay, now I can get the things that I need.  You know.  Or I need to get that, or I’ve always wanted to get that, I need it. You really don’t need it.  You know.  You need toothpaste and you need toilet paper.  Okay, I’m paying my bills, my kids are okay, I’m paying their bills, I have enough to pay for them to go to college.  Do I want to be wealthy-wealthy?  That’s starting to turn.  Before, if you asked me ten years ago.  I want to be wealthy, I want to be one of the wealthiest guys in Hawai‘i. Now it’s, I want to be one of the most happiest guys, and I want to be doing what I love to do guys in Hawai‘i.

 

In 2013, Lanai Tabura and his team entered Food Network’s The Great Food Truck Race.  They traveled more than four thousand miles across the country in their Aloha Plate Food Truck in a competition to see who could make the most money.  Well, their team won, thanks to the support of thousands of former Hawai‘i residents who came out to support them.

 

You know what’s so interesting about that whole race was the word aloha.  I’m gonna keep coming back to it, but the word aloha.  This is what happened.  I’m not gonna tell you the whole story, but what really happened was, what clicked it, and what sparked it, that Coconut Wireless, was one text.  I text Brook Lee, Miss Universe, good friend of mine: I am going to Idaho, I don’t know anybody in Idaho; do you know anybody in Idaho? That one text created this phenomena of thousands of people showing up to a food truck to support people they don’t know.  Why?  Nobody knew what was going on, nobody knew.

 

That’s right; the show wasn’t on at that point, right?

 

No; it wasn’t on.  Those thousands of people that you didn’t see on the television, because they thought we were cheating, showed up because they wanted to eat. They wanted to eat Hawaiian food, in the middle of Idaho, that they haven’t had for a long time.  People from twenty years transplants that lived in Idaho, fifteen years or what have you, people going to school showed up.  And I’ll never forget; I was in Minnesota, it was twenty degrees, raining sideways.  We went to an ice cream shop, and there was a guy who comes out with a University of Hawai‘i hat.  And he looks up at me, and he goes: Lanai, what are you doing here?  And I go: We’re doing this food thing, and I’m looking for a place to park.  I couldn’t say anything.  He said: What do you mean, this food thing?  Oh, we have this food truck, and bla-bla-bla.  He goes: Come here tomorrow, this is Grand Avenue, everyone will be here shopping.  I said: Really?  I said: You from Hawai‘i?  He goes: No, the girl who owns this ice cream place is from Hawai‘i, my ex-girlfriend. What?  Yeah.  He goes: I love Hawai‘i, I going tell all my friends come tomorrow; park over here. We show up; about two hundred people waiting in line, tents, raining sideways, it’s twenty degrees.  Who are these people?  We take about forty-five minutes to prep.  I walk out.  And I did this in every city; I would go down the line and I would thank people for coming and let them know we’re gonna open soon.  There was a lady, she’s gotta be in her seventies, and I said: I want to thank you for coming.  She goes: No, no, no; I want to thank you.  And I said: Thank me for what?  She goes: I’ve been living here for twenty years, and I never knew this many people from Hawai‘i live in Minnesota.  You guys know what you did?  I go: What do you mean, know what we did?  She said: You brought all of us together, through food.  And I was like: Holy moly, I never thought of it like that; right?  Where were we?  We were in the capitol of Spam.  Spam is made in Minnesota.  Right?

 

Then it’s a genetic connection.

 

Yeah.  There was another connection; Spam is made in Minnesota.  I meet this guy Matt, who helps us with the parking and everything, and I said: What are you doing here?  He said: I came to school here and ended up working here; I created a group called The Frozen Ohana.  And I go: What’s The Frozen Ohana?  He goes: Twenty-five hundred of us that get together every three months and have a barbecue, because we homesick.  And I go: Homesick from where?  He goes: From Hawai‘i.  I go: There’s that many people here?  He goes: Yeah.  And that’s what happened in every city.  I have a story for every little city, but that one was halfway into the race, and that one when it clicked in.  This is why people came together, ‘cause of the food and the Aloha that they wanted to share with their friends and their neighbors.

 

Plus, they wanted to support somebody who was on a quest.

 

Yes.

 

A Hawaiian on a quest.

 

Yes; totally.

 

So, are you using what you learned from that to do your pop-ups now in different cities all over the place?

 

I’ve been on this new journey because of it, of teaching aloha.  I have this passion for aloha.  I have this passion for teaching people that if you have aloha and good intent with anything that you do, you can do anything that you want.  You know what I mean?  You can be the best at anything you want, because you enjoy it.  You know, find what your passion is, and do it with good intent and aloha.  And that’s what I’ve been on this journey through with the food.  I’ve been teaching it through food subliminally.

 

I can see how you do it.

 

Yeah.

 

So, what’s an example recently of aloha through food?

 

I’ve been doing these pop-up dinners with different chefs.  And I sit with them, and we create the menu.  And the menu is always gonna be the plantation days and the migration of immigrants that came to Hawai‘i.  From Hawaiian food is the first dish, to Chinese, to Japanese, to Korean, Portuguese, Filipino.  You know. So, I walk through the timeline of it, and I figure out, will this dish represent that community or immigrant that came to the plantation.  Yes, it does. All right; now we’re gonna create a story behind it.  So, when you come to my dinner, you’re not gonna just have dinner; you’re gonna get an experience.  And the experience is gonna be the story of when the Chinese came in the late 1700s to trade sandalwood with Kamehameha, and then they introduced us to noodles and rice.  And when the Japanese came and introduced us to teriyaki sauce, and the musubi, and that’s how the Spam musubi came about.  And the Portuguese gave us oil and batter.  And the oil and the batter, they saw the Japanese guy eating raw shrimp and they said: You cannot eat that raw.  And they grabbed the shrimp and dipped it in the batter and in the oil. That’s why when you look at an okazuya, it’s flat, our tempura.  The Japanese took it one step further and put panko.  These stories is the way that I’m gonna get to you and share what aloha means. At the end of the day, all these plantation workers got a kau kau tin.  They sat in a circle, hot rice in one hand, hot food and vegetables in the middle.  And the Japanese said: Yeah, try my musubi.  And the Chinese said: Yeah, that’s noodles, try my noodles.  What did it do?  It brought us together.  And the Hawaiians taught us how to share, which is aloha.

 

Since he and his team won The Great Food Truck Race, Lanai Tabura has developed a passion for teaching aloha through food.  Whether it’s through his cooking shows or his pop-up dinners, he says he’s on a mission to share aloha.  Mahalo to Lanai Tabura for sharing his life story with us.  And mahalo to you, for joining us.  For PBS Hawai‘i and Long Story Short, I’m Leslie Wilcox.  Aloha nui.

 

For audio and written transcripts of all episodes of Long Story Short with Leslie Wilcox, visit PBSHawaii.org.  To download free podcasts of Long Story Short with Leslie Wilcox, go to the Apple iTunes Store or visit PBSHawaii.org.

 

I have kids.  I want my kids to live in a better world.  It’s a tough world right now, you know.  So, my whole thing is, how am I gonna use what I have built to help people.  My mom has done it her whole life; she still does it today.  My grandparents did it.  You know, my grandmother would make a big pot of chili and feed everybody. You know.   And then for years I’d go: Grandma, how come there’s all this Tupperware on the table?  How come you feeling everybody?  She goes: Never mind, you just bring this to Uncle’s house next door, you bring this to Auntie’s house.  That was how we lived on the ahupua‘a.  That’s how we shared, that was aloha.  Right? We have to bring that back.  We’ve made life too difficult.  So, I don’t want it to be difficult; I want it to be simple.  Ah, maybe I’m dreaming.  But I think I’ve made a pretty good start.

 

 

 

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The stories in AMERICAN CREED are told from the points of view of unlikely activists who creatively bridge cultural, economic and/or political divides. In his hometown of Hazleton, Pennsylvania, baseball manager Joe Maddon brings new immigrants and long-time residents together after a controversial local election. In Oklahoma, Lindbergh Elementary School Principal Deidre Prevett, a dual citizen of Muscogee (Creek) Nation and the US, fights for the struggling children and transient families of many different ethnicities who pass through her hometown of East Tulsa. Acclaimed novelist Junot Diaz, from urban New Jersey, and Marine Sgt. Tegan Griffith, from rural Wisconsin, work in very different spheres to achieve “the dream of an America where we can be on each other’s side.” Based in Seattle, Eric Liu brings community organizers together across ideological divides. By “being open and listening,” the founders of the grassroots organizations MoveOn.org and the Tea Party Patriots unexpectedly find common ground. In the Arkansas Delta, where mechanization threatens agricultural jobs, entrepreneurs Leila Janah and Terrence Davenport start an innovative technology company based on what they see as America’s promise of equal opportunity
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HIKI NŌ
Focus on Compassion: Parents and Children

 

The second of four in a special HIKI NŌ Focus on Compassion series emphasizes the unique and sometimes misunderstood relationship between parent and child. This four-episode series is hosted by Crystal Cebedo, a 2016 HIKI NŌ and Wai‘anae High School graduate in her second year at Menlo College in Atherton, California.

 

The outstanding HIKI NŌ stories in this Focus on Compassion show include:

 

–“Father Coach” from Hongwanji Mission School on O‘ahu: the story of a father and son whose bond and mutual respect developed and deepened through their additional roles as coach and player.

 

–“Parental Guidance Required” from Wai‘anae High School on O‘ahu: a look at how the tough love of a parent has sharpened one student wrestler’s competitive spirit and prepared her with the skills and mindset for life outside the ring.

 

–“Racing Sakamotos” from Chiefess Kamakahelei Middle School on Kaua‘i: the story of how a father’s passion for drag racing passed down to his children and united the entire family around the discipline and detail of this exhilarating sport.

 

–“Lucy’s Lab Creamery” from Saint Francis School on O‘ahu: the story of a young entrepreneur who uses his ice cream parlor to simultaneously honor the memory of his late mother and raise money for charity.

 

–“The Comedy of Life” from Maui High School on Maui: a look at the mental and emotional adjustments made as a daughter becomes the caretaker of her mother with Alzheimer’s.

 

–“Silent Passion” from Nanakuli High and Intermediate School on O‘ahu: the story of a mother, who despite her inability to hear, enthusiastically supports her son’s passion for singing, dancing and theater.

 

–“Anti-Meth Teen” from H.P. Baldwin High School on Maui: the story of a teen whose father’s past addiction inspired her volunteerism and gave her a platform for helping her peers rise above difficult circumstances.

 

This program encores Saturday, Sept. 16, at 12:00 pm and Sunday, Sept. 17, at 3:00 pm. You can also view HIKI NŌ episodes on our website, www.pbshawaii.org/hikino.

 

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