filmmaker

KEN BURNS:
Country Music

 

Learn about the making of the epic documentary series devoted to the history of this truly American art form. Features interviews with Ken Burns, Rosanne Cash and members of the filmmaking team.

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Tom Vendetti

 

Meet Tom Vendetti, a Maui-based psychologist and filmmaker who has turned a series of unexpected life twists into two intertwined careers. He shares how his unlikely journey has unfolded, all driven by his quest for happiness.

 

This program will be rebroadcast on Sunday, Dec. 1, at 4:00 pm and 11:30 pm.

 

Tom Vendetti Audio

 

Download the Transcript

 

Transcript

 

People often say to me: When you go to Tibet or Nepal, do you have culture shock? I say: No, the shock is coming back here.  And I truly mean that.

 

Meet a man from Maryland who became a mental health professional and advocate on Maui, and also produced about thirty films, so far.  We’ll show you how his unlikely journey unfolded, and what he’s learned along the way about the search for happiness, 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.  I’ve had the pleasure of interviewing individuals over a period of decades, and I’m still struck by how often the element of chance plays a role in remarkable life stories.  The man you’re about to meet is no exception.  In fact, serendipity is a recurring theme in the story of Dr. Tom Vendetti, of Wailuku, Maui.  This psychologist and Emmy-winning filmmaker turned a series of unexpected twists into two intertwined careers that have enabled him to do good in the world, while pursuing his personal quest for happiness.  On this edition of Long Story Short, we learn how Tom Vendetti’s lifetime of journeys add up to the journey of a lifetime.

 

You were adventurous.  You were hitchhiking far away at age, what, seventeen.  You were heading out with your thumb and friends, and going to rock concerts, and spring break and other experiences.

 

Yeah; I always had this drive to see the world.  And surprisingly, my parents were okay with that.  But it was nothing for me to hitchhike to New York and see the play Hair, or go to a rock concert in Indiana, or even New Orleans to the Mardi Gras.

 

Did you start working early?

 

I started working right out of high school.  Primarily, it was during the Vietnam War days, and I was going to be drafted.  So, I applied for a conscientious objector status, and I only had a couple weeks before I was going to be shipped off, so the clock was ticking; right?  So, anyway, I went in front of this panel, and it was community members, some clergy, and military, and they just interrogated me, this kid, eighteen years old.  You dong love your country?  You don’t want to fight for your country?  And I tried to explain to them that it’s not that I wouldn’t want to fight for my country.  I would; it’s just this particular war that I didn’t believe in.  And within a couple weeks, the letter came, and it said that I was still 1A active, going to be, you know, drafted.  My mother said: I can’t believe that this is happening.  I said: Well, Mom, it’s happening.  She goes: I think it’s a mistake.  I said: Come on, Mom, they don’t make mistakes like that.  She said: Well, I’m gonna call them tomorrow and see.  And I was working construction with my father at the time, so we went to work.  And then when I came home, she took this sheet and put it out in the front of the house, and must have taken a spray can or something, put one, zero on it, which meant conscientious objector.  And I walk in the house and said: Mom, what’s going on? And she said: Well, it was a mistake; they made a typographical error.

 

Wow.  That’s a huge error.

 

That’s a huge error.  And again, I was just elated.  And because of that, though, I still had to serve my country for two years.  So, I had to find a job in the helping field either, you know, doing community service or something.  And that’s where I got a job working at Sheppard Pratt Hospital as a psychiatric aide.  And at the time, I had no interest in psychology.  Which again, it just opened this door up that I’ve been, you know, doing my whole adult life.

 

And you ended up getting a PhD.

 

PhD, and I also got a master’s degree in clinical social work from the University of Maryland.  After that, I decided to move from Maryland to Flagstaff, Arizona.  Back then, there were very few services for the mentally ill, so we created a program for them that got a lot of attention.  And a lot of that attention came from a program called Adventure Discovery, where we would take the mentally ill people hiking and on river trips, and things like that.

 

Why?

 

Well, again, there was some research coming out at the time that it was very therapeutic.  And we actually did some testing to verify it, which started my film career, by the way. We took ten mentally ill people on the San Juan River, and prior to doing that we did some pre and post tests for anxiety and depression.  The filming part came where I asked a friend of mine who bought a new camera back then. We did our testing, and made this documentary film, and the research that we did showed that not only the clients benefited, that the depression dropped and anxiety, but also the staff.

 

That is interesting, because what you’re telling me is that by seeking not to fight in Vietnam, it led you to your career and to your vocational passion.

 

Right; exactly.  So, I came back, and I put this film together.  And then, I became hooked.  So, I was the kid that was very shy in school.  You know.  I would know answers to questions, and wouldn’t raise my hand.  And when I realized through film that I could actually communicate, because I had a lot to say, you know, that this was my ticket for achieving that.

 

At the same time he was building his psychology career and developing his passion for filmmaking, Tom Vendetti yearned to see the world.  And that’s what first brought him to Hawaii, initially drawn to the Big Island of Hawaii because of his fascination with mountains.

 

It gets back to my early hitchhiking days.  I always wanted to see the world.  I had a girlfriend at the time, and we decided that we were going to travel around the world.  The first stop was Hawai‘i. So, we arrived in Hilo, because of Mauna Kea and Mauna Loa.  We ended up spending two years there, because, you know, we needed to make some money. So we started one of the first halfway houses for the mentally ill over there, which is part of the Mental Health Kokua system right now.  And then after we got the money, we ended up in New Zealand.  And someone at that point said: Where are you going next?  I said: Well, I really love mountains.  They said: Well, you need to go see Mount Everest.  I said: Where is Mount Everest?

 

You didn’t know where Mount Everest was.

 

No; I was so naïve.

 

And look at where much of your life has been focused now.

 

That’s right.  I had clue. And they said: Well, you have to go to Katmandu, and Nepal.  And I said: All right.  And it was May.  The monsoons came in a little early that year, so people were saying: You shouldn’t go up to Mount Everest; you’re not going to see anything.  You know, there’ll be too many clouds, and be socked in. I said: Well, I came all this way; I’m gonna go anyway.  On the plane, there was this man sitting in front of me, and he was in English, kinda broken English, pointing out all of the mountains.  And I noticed a lot of other people were paying attention to him, like he was somewhat knowledgeable.  But I didn’t pay much attention to it.  And then, when we got off the plane, he and his daughter walked up to me and said: Where are you going?  I said: I’m going to Mount Everest.  He said: Well, would you mind if walk with you?  And I thought he just wanted to practice his English, or something. As I look back at it, I am sure he was, you know, trying to protect me and take care of me.  But as we were walking on the trail, people were just going: Namaste!  Almost in reverence to this individual.  And then finally, I heard someone say: That’s Tenzing Norgay.  I went: Tenzing Norgay?

 

He was a Mount Everest rockstar.

 

He was. And in that part of the world, he was a hero, you know.

 

Because he was the Sherpa who went up Everest with Sir Edmund Hillary.

 

Tenzing Norgay and Hillary were the first two people to summit Mount Everest. So, when I heard that, I said: What are you doing here?  He said: Well, I’m on my way to meet Hillary; National Geographic is doing a thirty-year special about us summiting the mountain.  Would you like to be my guest?  And I said: Of course.  For a week, you know, we hung out together.  And then, when we were getting up to Kunjan, where Hillary was, first they walked up and embraced; the cameras were going, and so forth.  And then, he introduced Peter—that’s Hillary’s son, was there and then, Deki, Norgay’s daughter.  And then he said: I want you to meet my friend Tom.  And here I am, shaking hands with Hillary, going: What is this all about? Right?  And then, from that day on, it just changed my whole life, and I’ve been going back now for thirty years.

 

So, you were living on the Big Island, went away to see the world.  And then, what?  How’d you get back?

 

Then, I ended up back in Flagstaff.  And when I returned, I got a job at the Guidance Center again.  My girlfriend and I split up at the time, and my wife Nancy was also getting a divorce from her husband.  She was working there, so, it all seemed to kinda click at the same time.  And then, we fell in love.  And we decided to get married on Maui.  When we got back to Flagstaff, we started contemplating the idea of moving to Hawai‘i.  Before we knew it, we applied for jobs, landed them, and we’ve been living on Maui now for twenty-six years.

 

And did you say she’s in the same …

 

Yeah; she’s a clinical social worker.  We’re very happily married, and it’s been a good thing for me.

 

Among Tom Vendetti’s talents is a background in music.  This expertise serves him well in filmmaking, helping him to craft just the right mood for each project, as well as build bonds with exceptional composers and musicians.

 

In high school, I understand, you were not just a jock; you were a band geek, I think is the expression people use.  You did both.

 

Yeah; I played the trumpet from third grade all the way into college, and was on the Baltimore Colt marching band.  So, I got to see my heroes Johnny Unitas and Raymond Berry back in those days, which was quite thrilling for me.

 

And that’s another of the things you discovered early in life, that you continued on.  Music has just been a continuing theme, and you use it in all of your productions.

 

Yes.

 

Original music, too.

 

And in terms of editing, that’s my favorite part; putting the music to the scenery, especially beautiful scenery like, you know, the Himalayas and so forth. And I was so thrilled to have Keola Beamer, you know, work on this latest film.  We went to Katmandu, and he had the opportunity to record original music with seven local Nepalese, you know, musicians.  And it was just fascinating to watch, and also beautiful to listen to.  And it literally brought the film to life, as far as I’m concerned.

 

I wasn’t surprised to find out that they had partnered with you, because when Keola was a guest on this program years ago, he told me that he had become a Buddhist.

 

Right.

 

And that his mother, you know, Auntie Nona Beamer, had become a Buddhist, and they both said it was very Hawaiian in its values.

 

Right. Yeah.  Being around Keola Beamer and Moana as friends, again, that’s such a treasure, something that I, you know, love both of them dearly.

 

[MUSIC]

 

And who’s Paul Horn?

 

Paul Horn is a very famous flautist, flutist.  He’s known as the father of New Age music.  He’s a Grammy Award winner and has probably forty-six albums out. And he passed away not too long ago, but he literally said: Tom, if you ever want to use any of my music, it’s yours. We became that close over the years.

 

You traveled with him quite a bit.

 

Yeah. We traveled to Tibet.  I think it was 1992, I asked Paul, because he had played in the Taj Mahal and the Great Pyramids, if he would like to play in the Potala Palace in Lhasa, Tibet.  He said: Man, if you can make that happen, we’re there.  And I said: Okay.  And believe it or not, we pulled it off.  And that was my first documentary film, Journey Inside Tibet, that was picked up by PBS Plus.

 

Which is one of the programming streams on PBS.

 

Yes.

 

[MUSIC]

 

So, I needed to find someone to narrate that; right?  And I always really liked Kris Kristofferson.  He was a person that I looked up to.  And I knew that he lived on Maui.  So, I had a VHS tape of what I shot, and the music, but I didn’t know Kris’ address.  But I, again, knew that he was on Maui.  Put it all in a package, and I wrote: To Kris Kristofferson, Hana, Hawai‘i, without a zip code.   ‘Cause I was fairly new to Maui at the time.  Put it in the mail, and several weeks later, I get this call from this man, Vernon White.  He happened to be Kris’ manager, and he was calling from L.A.  He said: Kris said he’ll do it.  I thought it was a friend joking, or something.

 

 

I said: Do what?  You know. He said: He’ll narrate your your film.  And I said: Really?  And I said: Well, how much will it cost?  ‘Cause Kris Kristofferson.  He says: How much money do you have?  I said: I don’t have anything.

 

He said: That’s what it will cost you.

 

Oh …

 

Yeah. And Kris came over to Kīhei, sat in the recording studio and did that, and was so gracious, and it was humbling for me to be in his presence, that again, it just kept me wanting to make more films, especially after it got on PBS.

 

I think you’re the first filmmaker I’ve ever met who doesn’t raise funds, but who earns the money in another job and pays for it himself.

 

Right.

 

That’s a lot of money, that’s a lot of travel bucks.

 

It is. But I would be doing it anyway. Traveling, doing it my whole life.

 

[CHUCKLE]

 

With psychology, of course, I had to go to college and get degrees, and so forth. But I’m self-taught when it comes to filmmaking.  So, put a lot of energy into it, and again, it’s just a passion that I love doing, and it’s become a voice for me.  So, it fills that need, too.  The editing part became more like therapy for me.  It was extremely therapeutic.  Because of the content and the people, you know, that I interviewed and so forth, hearing their words, and then getting to relive it again through the images, you know, that I shot, I never considered it, even to this day, being work.  The bottom line with making the film was, like I said, I would get a bunch of friends and we would make it slash, vacation shoot.  My wife has been very supportive in that too; Nancy.  In fact, she’s gone on all of these journeys with me.  She loves the outdoors, she loves hiking and trekking, and so forth.  So, we invite friends.  And hopefully, you know, I have a plan, an idea in mind in terms of what I was trying to tell, in terms of the story.  In places like Nepal and Tibet, if you go in with a fixed plan, you’re really setting yourself up for disappointment.  You need to be open and just kinda let it all unfold.  And if you do that, it’s amazing; it often turns out better than the original plan.

 

Is that right?

 

At least, that’s been my experience.  Yeah.

 

So, you don’t create at least a Plan B first?

 

In that part of the world, it’s better not to be that attached to anything.

Oh, that’s interesting.  That sounds very Buddhist of you.

 

It’s very Buddhist.  Buddhism and even today’s world of psychology just go hand-in-hand.  If you get into a lot of what the Dalai Lama says about negative thoughts and, you know, and so forth, that’s cognitive behavioral therapy, that’s what therapists do.

 

Training yourself not to have negative thoughts.

 

Exactly.  And reframing things in a positive light, along with the buzzword in psychology now is mindfulness.  It’s a Buddhist term; right?  I could relate to that on both levels.  This last trip that we took with the Beamers in Nepal to film Tibetan Illusion Destroyer was about exactly what I’m talking about.  They have a festival up there every year called the Mani Rimdu Festival with the purpose of destroying illusions, thoughts, or you know, the way you perceive things, that lead to human suffering.

 

Tom Vendetti of Maui has seen plenty of that suffering through several decades practicing psychology, as well as fighting to improve Hawaii’s mental health services. And then, came a time when his own mental and physical health was challenged with a diagnosis of prostate cancer.

 

Basically, when I found out that ninety-nine percent of my prostate had cancer in it, it was like being hit in the head with a two-by-four, a wakeup call.

 

How old were you?

 

Fifty-five.

 

You were fifty-five.

 

So, I went and had the radioactive seeds, a hundred and twenty-two of them, put in my prostate.  And at that time, I got pretty depressed, to be honest with you.  I was lying in bed, and I said: I need to go Nepal—I was talking to my wife, even though I felt kinda weak and so forth.  But I just said I needed to go to there.  When I got up into the mountains, it was that quiet time again, and being able to hike and be into nature that just brought me back to life. In fact, that’s when I made When the Mountain Calls, on that journey, and reflecting on all of these … you know, the thirty years of my travels in Nepal.  I’ll never forget; when I got back from basecamp, I made it all the way there and back.  I was in Lukla again at that airport.  And I called my wife, and she said: I’ve never heard you sound so happy.

 

I felt a true sense of inner peace, true happiness.  I contemplated the meaning behind all the wonderful experiences I’ve had, and of how the mountains kept calling me.  They have taught me that life’s magic is always right here in front of us.

 

Well, there, they base it on four pillars.  One is an honest, transparent government.  Another one is respecting nature.  And they basically say if you get up in an environment where all the trees are cut down, and the rivers are polluted, you’re not going to be happy. The other one is preserving culture. That’s something that they cherish in Bhutan, and they don’t want to lose it with Western influence.  And the other one is economic stability.

 

Stability; not growth, but stability.

 

Yeah. There have been many, many studies saying that above your basic needs being met, happiness improves a little bit above that with income, but beyond that, there’s no correlation at all.

 

Income doesn’t bring you more happiness.

 

Exactly right.  And when I went over to the Bhutan initially, I was very skeptical.  I thought: Is this for real?  But I came back a believer, and I think it could be a model for the world. In different places, like Norway and that part of the world, they’ve embraced it.  But in terms of Western capitalistic types of societies, we have a long way to go if we want to take that on.  But that film won an Emmy too, which was kinda cool, you know.

 

You came home as an Emmy-winning filmmaker.

 

Yeah, yeah.  That was surreal.  You know, when you’re sitting in the audience and you’re thinking: Well, I didn’t have anything really prepared.  But when the spotlight hit me, I thought: Oh, my god.  I walked up, and there were these two big, giant television screens; right? And I looked up and saw myself up there.

 

I just kind of focused on one person in front of me and started talking.

 

Because you’re the filmmaker who wants to be on the other side of the camera.

 

Exactly right.  Here’s the kid who didn’t want to put his hand up in school, you know.

 

You know, I know that that airport that you went to at Everest is very small.  But what are the chances, you know, that you’d get together with the Sherpa who summited Everest with Sir Hillary?

 

See, that’s really an interesting question.  I wasn’t one of those people that just thought things happened by chance. But I’ve come to the conclusion, and it took me a long time to get here, that things do happen.  Again, it can be on a spiritual level, or it can be on a different plane than this objective level.  And that was a real awakening for me.  And that’s the only way I can explain meeting, you know, Norgay up there, and Hillary.  You know, when I walked away from that experience, I was thinking again, you can’t explain these things.  You know, you just gotta be open to ‘em.

 

What do you make of it?  Because you know, we hear stories that appear to be accidents and random chance all the time.  But these happenings take people to places they otherwise never would have gone.

 

Part of what I learned is that, number one, you need to show up.  Just simply put yourself in a situation to allow things to happen.  And if you do that, they often do.  It’s something that, you know, you can’t necessarily measure.  It’s got to be probably more on a spiritual level that I’m trying to get in tune with.

 

Have you found a spiritual path?  Are you still deciding?

 

I’m always going to be on that path.  I’d be the first to say that I really don’t know what’s going on.  I’m still working towards that so-called enlightenment or nirvana, or whatever, however, whatever term you want to put it in.

 

Have you stopped going back there now?

 

To uh …

 

To the Himalayas.

 

No; in fact, I just got back.

 

Oh; okay, then. 

 

When I had the opportunity to film His Holiness, the Dalai Lama, a few years back, I asked him what the significance of Mount Kailash was.  So, I’m making a film right now that’s focusing on three areas—preserving the Tibetan culture in China was the first question, the second one was the significance of Mount Kailash, and the third one was happiness. In fact, I’m almost finished that one.

 

Well, what does he say about happiness?

 

Well, he said he has no way in the world to know how to fix happiness on a global level, but on an individual level, it’s possible.  And it gets back to what we were talking about; calming you mind, again, ridding yourself of negative emotions or thoughts that create negative emotions, and back to that kind of basic Buddhist teachings.

 

Did you see your Sherpa friend again?

 

I asked him; I said: Is there any place in the world that you would like to see or to hike or trek?  And he said: The Grand Canyon.  I said: Well, that’s where I’m from; when I get back, I will write to you and we’ll hike the Grand Canyon together.  And by the time I got back, he had passed away.

 

Oh …

 

Yeah.

 

Too bad.

 

Yeah. But I was thinking, you know, here I am, traveling all the way to Nepal to find happiness, and he’s saying the Grand Canyon.  Is it right in my backyard?  You know.

 

Do you think that both your career—your dual careers, really; do you think those were all about finding happiness?  Or defining it?

 

Well, it certainly ended up that way.  Initially, like I said, I had no desire at all in psychology.  And I always wanted to see the world, but I really didn’t even know about Buddhism or, you know, the teaching of Buddhism or the philosophy behind it.  But that’s really what has impacted my life in terms of the way I see the world now.

 

At the time of this conversation in 2019, Tom Vendetti has retired from fulltime psychology practice, and devotes most of his time to filmmaking.  He’s working on new projects, and we’re proud to give some of his films a home here on PBS Hawaii.  Tom Vendetti has learned from prominent people in different parts of the world.  He says he’s also gained insight from the years with his Maui patients, whom he admires and respects for their strength and intelligence.  We want to thank Tom Vendetti of Wailuku, Maui for sharing his search for happiness.  Perhaps he’s inspired you to focus on what’s truly important in your own life, and to show up in life, because that’s where chance, serendipity, can take you on an unexpected, life-changing journey.  For Long Story Short and PBS Hawaii, I’m Leslie Wilcox. Aloha nui.

 

I’ve been asked by Keola to make a film about Auntie Nona Beamer.  And it’s something that I’m really looking forward to. That’ll be my next film.  So, I feel honored to make the film.  She’s had other films made about her, but it’s been primarily, you know, talking heads, people talking about her.  The goal of this film would be to capture her spirit, and to capture it through her words, through her, you know, hula and chants, and the songs that she’s written, and the beauty of the islands.

 

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.

 

[END]

 

 

 

FRONTLINE
For Sama

 

Filmmaker Waad al-Kateab filmed her life in the rebel-held Syrian city of Aleppo over five years. She fell in love, got married and had a daughter all while filming the violence raging around her — and in particular, documenting the unique challenges the Syrian conflict imposed on women and children.

 

 

 

MILITARY FAMILY DOCUMENTARY:
While Time Stands Still

 

For 17 years, our country has engaged in a war most people have now forgotten. Yet, we still have troops deployed… Filmmaker and Iraq War Veteran Spouse Elena Miliaresis travels to Twentynine Palms, a Marine Corps base in the Mojave Desert, to meet two wives on the eve of their husbands’ deployment to Iraq with 3rd Battalion 7th Marines. Over six years, “Military Family Documentary: While Time Stands Still” follows their journey revealing how they find the resilience to survive and grow stronger than they ever thought possible. “Military Family Documentary: While Time Stands Still” is the first film to chronicle the lives of military families during wartime, and depict the impact war has on families. This moving documentary created by female filmmaker gives a voice to women, to wives and mothers, a rarely seen perspective. “Military Family Documentary: While Time Stands Still” honors and celebrates the contribution of women to the history of the United States of America.

 

 

 

HIKI NŌ 10|24|19:
Archers to Art and Other Stories

 

TOP STORY:

 

“Archers to Art”
Students from Ke Kula Niihau O Kekaha Public Charter School on Kauaʻi tell the story of how members of their school’s archery program created, through a process of problem solving, an activity that produces wildly colorful, spontaneous works of art. Student archers decided to place balloons onto the traditional archery targets with the intent of having the arrows burst the balloons. The wind caused the balloons to move around, so the students filled them with water to anchor them in place. They then decided to add paint to the water, and laid cardboard down to avoid messing up the surrounding area. Noticing the colorful designs the splatters created, they replaced the cardboard with watercolor paper. Thus was created this innovative genre of painting.

 

ALSO FEATURED:

 

“Waimea’s Rain Rock”
Students from Hawaiʻi Preparatory Academy Middle School in the Waimea district of Hawaiʻi Island tell the story of a legendary rain rock which was said to have saved Waimea from a devastating drought.

 

“Student Poet”
Students from Kauaʻi High School in Līhuʻe tell the story of a young poet who uses creativity to battle depression.

 

“Jiu Jitsu Preacher”
Students from Kamehameha Schools Maui Middle School in Pukalani tell the story of a martial arts school that is also a place of worship.

 

“How to Care for an Abandoned Baby Bird”
Students from Īʻao School on Maui show us how to nurse an abandoned baby bird back to health.

 

“Betty Santoki”
Students from Farrington High School on Oʻahu introduce us to a Class of 1962 Farrington graduate who has dedicated her life to keeping Japanese traditions alive in her community.

 

“Suburbia”
A student at H.P. Baldwin High School on Maui shares her inner-most thoughts about becoming a filmmaker in a personal video essay.

 

This episode of HIKI NŌ is hosted by students at Montessori School of Maui in Makawao.

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Lorenzo DeStefano

 

Lorenzo DeStefano is a Honolulu born photographer, filmmaker, film editor and writer who explores the hidden lives of those who are often overlooked in society. He wrote and directed Shipment Day, a stage play that ran at O‘ahu’s Mānoa Valley Theatre. It tells the true story of his feisty cousin Olivia who contracted leprosy at age 18 and was exiled to Kalaupapa, Moloka‘i.

 

This program will be rebroadcast on Sunday, Oct. 13, at 4:00 pm and 11:30 pm.

 

Lorenzo DeStefano Audio

 

Download the Transcript

 

Transcript

 

Having gotten leprosy and having struggled against the Board of Health, and the autocratic, dictatorial nature of fear and stigma, and having Patient Number 3306, I mean, just short of stamping it on your arm, you know, changed her, changed everybody who was caught up in that fear.

 

Patient Number 3306 was his cousin, and Lorenzo DeStefano wrote a play about her life. Meet this Hawai‘i-born photographer, filmmaker, film editor, and writer who explores the hidden lives of those who are often overlooked in society, 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.  Growing up in Hawai‘i, he was Larry Stevens.  Now, he is Lorenzo DeStefano, having gone back to the Italian origins of his family name.  Today, DeStefano lives in Ventura, California, but during the early years of Hawai‘i’s statehood, he was an island kid living in the O‘ahu neighborhoods of Kāne‘ohe, Wai‘alae, Kaimuki, and Waikīkī.  Lorenzo DeStefano tells his stories through different types of media.  He produced and directed a documentary film titled “Hearing Is Believing”, about Rachel Flowers, a blind musician and composer.  And more recently, he wrote and directed a stage play called “Shipment Day”, the true story of his cousin, Olivia Robello Breitha, who developed leprosy at age eighteen and was exiled to Kalaupapa, Moloka‘i.

 

[scene from “Shipment Day”]

 

That’s when he began taking scrapings from around that spot on my arm.  He went deeper into the flesh than I ever thought he would.  I tried really hard not to scream, and I didn’t.  I almost passed out.

 

LORENZO DESTEFANO

 

Jason, everything sounds good?

 

[OFF STAGE]

Sounds great.

LORENZO DESTEFANO

Yeah, that line with Lauren was okay; we got it?

 

[OFF STAGE]

Yeah.

 

My dad came from Brooklyn.  I think he came to Hawai‘i in the late 40s.  He worked at KGU as a radio announcer.  I don’t know if he spun music, or talked.  I know when he did go to KGMB.  Was it Channel 9, I think that was, a CBS affiliate.  He had a show uh, called Larry Stevens’ Matinee, and he played movies, screen movies of his choice, I guess.  They had a library of movies.  And then, between the breaks, he’d be sitting there with a cup of coffee, and he ran this thing called the Trading Post, which was sort of an early QVC type thing.

 

Really? 

 

Where they sold things.  And he’d say, like, you know: Mrs. Wong in Kāne‘ohe has a bunkbed she wants to sell for five dollars; if you’re interested, call 5671.

 

That’s interesting.  I’ve heard that since on the radio.

 

Yeah; I don’t know if he invented it, or it was something that he was assigned to.  But he got to be known.  But here was this guy smoking a cigarette and drinking coffee, and he’d say: Well, now back to the movie.  And then he played Charlie Chaplin’s song, “Limelight”

 

And he started off as a DeStefano, changed to Stevens.  So, you were born a Stevens.

 

Yeah.

 

You changed your name back.

 

Yeah.  Well, he was Severio DeStefano.  You know, this was the 40s, when we were at war with Italy, and you know, there was a lot of bias about immigrants anyway.  Jews, Italians, Germans; you know, a lot of people changed their name.  And he changed his name to Stevens, Lawrence Stevens.  So, I was born Lawrence Peter Stevens.  I just changed it back a long time ago to Lorenzo DeStefano.  I didn’t change my name, I just went back to what it was before, you know, before he had changed it.  And he approved of that.  You know, he says: Yeah, times are different now.  And I understood why he did it.

 

And your mother from Kalāheo, Kauai was a Silva.

 

Yeah.

 

And she turned out to be kind of a business dynamo.

 

Well, she’s the eldest of three.  They were orphaned when my mom was nine, when her parents died.  What I think that instilled in my mom, being the oldest of three, she was gonna make something of herself.  She wasn’t gonna be tagged as this orphan, this second-class citizen, you know.  So then, she got secretarial skills, and really made something of herself.  And I think when most women were maybe just homemakers and happy with that, she was that, plus she worked for Bishop Realty in the early 60s and throughout the 60s as one of the top brokers with Vi Dolman and people like this who were around at those times.  Really dynamic women, who were sort of in the business world.  Looking back, I feel honored and privileged to have been brought up here.  You know, lots of diversity, growing up without fear of the other people that looked differently or acted differently than you, multiculturalism.  I think, like anyone who was around then, life was slower and simpler.  The 50s was sort of maybe a fantasy period of tranquility.  You know, then I started to grow up.  Some of my first jobs were, I was a busboy at Rudy’s Italian Restaurant on Kuhio Avenue, and I sold koa wood bowls on Lewers Street.

 

On the sidewalk?

 

Yeah; yeah.  And then, I worked at a candy store making candy.  You know, I had two or three jobs.

 

Where was that?

 

On one of those side streets.  Then I went to Punahou for a year, until they suggested that maybe I’d do better elsewhere.

 

What was the reason for that?

 

Well, I was not applying myself, you know.  They were pretty strict, as they are still.

 

So, you were disappointed, or did you want to leave?

 

I wasn’t as disappointed as they were.  You know.  I think they were disappointed, but you know, my folks never really pushed me. They just wanted me to be myself. I guess they were kind of ahead of the times.  They weren’t really autocratic about—you know.  ‘Cause they both made made themselves, reinvented themselves from where they came from.

 

 

Lorenzo DeStefano finished his formal education at Kalani High School in East Honolulu.  Deciding against a college degree, he says he felt comfortable teaching himself, as he did during his teen years when he taught himself photography, namely street photography, capturing candid chance images of strangers.

 

I think my folks bought me Time Life books on photography.  It was like about eight or ten books, which were great books, you know.  I think I wasn’t the only one to get turned on to photography by those books and the great photographers in there.  Black-and-white, color, nude; all the stuff that was fascinating, you know.  And then. I saved my money from bus-boying and all that stuff.  And a friend of the family went to Japan and brought back a Nikon for me and some lenses.  And I just started shooting, you know.  It was really a sense of discovery for me.  And so, I got into these places.  I actually went into Leahi Hospital and shot a behavioral unit for kids. You know, emotionally disturbed kids.

 

I remember that unit.  There were also patients with tuberculosis there in your time, too.

 

Yeah.  But again, I had full access, you know.  Now, you know, you have to fill out forms, even if you could get in.

 

As a teenager on your own, no parent accompanying you or other friends, you just went on your own, and got in?

 

Yeah.  I got in my car, and went and did it.  And then, you know, like I remember shooting a Young Republicans rally at Kapi‘olani Park, and you know, seeing the different kinds of people.  It was, I guess, the Nixon days, and people with the flag.  And I thought they were rather curious people, you know.  I think the important thing is, as a photographer or writer, whatever, you have your own politics and your own values, you know, what you believe in, that either agrees with who’s in power, or doesn’t agree with who’s in power. But when it comes down to your work, you should be pretty much nonjudgmental, you know, about it. ‘Cause that lessens the power, I think, of what you’re doing.  Your job is not judge so much as a photographer, as to show, you know, whether it’s a play, or a novel, or whatever.  It’s to observe, translate, express, but not take sides.

 

Lorenzo DeStefano’s curiosity with still images progressed into a hunger to learn all he could about motion pictures and film editing.  He said that as a teenager, he saw the musical movie “Cabaret” more than a dozen times at the former Cinerama Theater in Honolulu.

 

The fourteen times I went to see Cabaret, I did that for a reason.  Because Cabaret was a brilliant film.  I’m not such a big fan of musicals, but there were great songs in there by Kander and Ebb, you know, the songwriting team.  But the way the film was put together was stunning to me.  You know, it was editing as impressionistic.  It wasn’t just shot over shoulders and, you know, sort of the standard TV type of editing, or even movies, mediocre kind of exposition.  It was very creative.  But I was convinced by that film I wanted to learn that craft, and I couldn’t do that here, you know.  There was no film school here at the time.  And so, I went to the mainland and eventually found myself in L.A.  And I found ways to get into the game, you know.  I basically lied about the experience that I’d had, and I got a job as an assistant editor at National Geographic.  We used do their editing down there.  And the first day in the cutting room, I got the job.  It was like three hundred week; it was like pretty good at the time.  People now are not making three hundred a week, you know.  Hundreds of thousands of feet of sixteen-millimeter film shows up from Africa of elephants.  Just elephants, you know.  And I’m going: What am I supposed to do with this?  And the other assistant, who I still know—she’s in New York, says: You don’t know much, do you?  I said: No, not really.

 

So, I did a couple of those National Geographic specials, you know, and I learned quickly, you know.  But I was always looking to get in the union—this was a nonunion job, so I could work on features, you know, movies.  So, it took me a couple of years.  You know, basically, what I did was, I had about ten editors whose names I had collected over a year or two whose movies I liked, you know. But I didn’t know how to contact them. This was not internet days, you know, where you can just find people pretty easily.  So, I called the Editors Guild, the union, and another group called American Cinema Editors, where these people belonged, and I basically posed as an assistant to a producer, a known producer.  And I’d read the trades, you know, Variety and the Hollywood Reporter, and find out what movies were almost in preparation to go into production. And so, I’d call up and I’d say: I’m—and make up a name, you know.  I’m revealing all this stuff now.

 

Intrepid; intrepid job-hunting.

 

I’d say: I’m assisting this producer, a real producer.  And they’d say: Oh, say hi to him.  I said: Okay, I will.  I didn’t know the guy.  But I said: You know, we’re looking for editors for this picture, and there was a real movie that’s in the trades.  I said: I need phone numbers and addresses for these guys.  You know.  And they gave ‘em to me.  So then, I’d write letters to these people.  And I’d say: You know, I’m willing to do anything, sweep up, whatever. And I wrote to about ten people, and it was amazing, about eight of them got back to me, either phoned or wrote a note. Six or so of them took me to lunch. Ended up working for four of them over the years.  Two of them were Oscar-winning editors, you know.  Richard Halsey, who won an Oscar for “Rocky”, was a big influence on me. I worked for him for four years. Bill Reynolds, who won four or five Oscars for “Sound of Music”, and bunch of films was another one.  You know, these are guys who had done it all, you know.

 

How long did it take to get to where you wanted to be, which was actually editing?

 

About five years.  Yeah.  First movie I edited by myself was “Girls Just Want to Have Fun”, with Helen Hunt and Sarah Jessica Parker.  And then, I cut about ten or twelve movies after that.  And then, I got on a TV series at Warner Brothers called “Life Goes On”, which was a show with Patti Lupone.

 

That must have been really long hours.  Were you doing a weekly show?

 

Yeah.  It was a network series on ABC.  It was on film, shot for eight days.  You know, it was a drama, family drama.  It was about a family with a young Down Syndrome child.  It was kind of a cutting edge, breakthrough series in a lot of ways.

 

I think you’ve compared film editing to writing.

 

Sure.  I learned that later, you know, that the final drafts of a script in the case of film is in the editing room.  You know. Where the script is now thrown away, and now it’s the film that was shot from the script, and then it’s free, you know, open season on how you’re gonna turn this into a film using all the techniques available.  Not just editing, but sound and music, and other things.

 

When you were editing fulltime, did you say: I have found exactly where I want to be, and this is where I’m gonna stay, this is me.

 

Yeah, I did have that feeling.  I think I chose well, in terms of my personality, you know. A lot of editors make great directors, you know.  David Lean was a film editor, “Lawrence of Arabia”.  Hal Ashby won an Oscar for “In the Heat of the Night” as an editor, went on to direct “Harold and Maude”, and “Being There”.

 

Did you have that aspiration to be a director?

 

I did; yeah.  But I was, you know, daunted by it, you know.  Editors don’t often make good directors, ‘cause it’s an insular kind of personality.  Directors tend to be more outgoing and jump right into the fray, you know.  And editors tend to—not to stereotype, but tend to want a more private controlled atmosphere.  And the set is not a controlled atmosphere; it’s basically chaos, you know.  And so, it took me a while to embrace the chaos, you know.

 

What did you direct?

 

Well, I did my own things, and then I did documentaries starting in the 80s.  Music films; I’m sort of a failed musician, you know.  So, I worked that out by making films about musicians.  I’ve done three of them so far.  And then, I directed on “Life Goes On”.  That’s when I got into the Directors Guild and worked actually in a studio situation.

 

I would think egos would come even more into play when you’re directing on a set.

 

Well, in that case, it was good, because people knew me.  The actors all knew me, and the crew knew me from being a producer and a supervising film editor.  And so, I was a friend, you know, I was part of the team already.  So, that was helpful. But yeah, that was a step, you know, of confidence-building.

 

In Los Angeles, Lorenzo DeStefano worked his way up the ranks as a film editor, later becoming a producer and a director.  He would eventually branch out on his own as a documentary filmmaker and writer.  During one fateful visit to Hawai‘i in the late 1980s, DeStefano learned of a family secret: a relative who had been exiled long ago when leprosy was a much-feared and little-understood disease.  DeStefano set out to meet his forgotten cousin, Olivia Robello Breitha.

 

Well, first of all, I should say she’s one of the most amazing people I ever got to meet, you know.  And the fact that she’s family was even more of a revelation.

 

What was the connection to her?  How were you related?

 

My mom and her mom, their mothers were sisters.

 

I see.

 

So, they were first cousins.  Yeah; yeah.  Portuguese girls from Kalāheo.

 

How did you meet her?

 

Finally, my mom told me about this cousin of ours who had leprosy, who was in Kalaupapa.  And I went over there to meet her.  And I hiked down the trail, and she wasn’t home.  I didn’t check first; I just figured she was there.  She was in Honolulu.  So, I missed her the first time.  But then, I met her Christmas of ’89, and we spent, you know, seventeen years ‘til she died in 2006, being very close, you know.  Especially after my mom died in ’96, ten years between then and Olivia’s death, Olivia who’d never had kids, you know, who loved children.  I wasn’t a kid anymore, but anyway, we bonded. You know, I like to call her the Rosa Parks of leprosy.  You know, she’s a simple woman, like Rosa Parks was.  Rosa Parks was a maid, you know, who took the bus back and forth to White people’s houses to work, and who wasn’t gonna change her seat.  Came a day when she says: I’m not doing this.  And then, we know what happened from there. She and others kicked off a whole movement, you know.  Olivia said: I’m not my disease, you know, I’m not my condition; call me by my name, Olivia.  And I really respected that.

 

So, did you remain on the mainland and go back and forth to see Olivia?

 

Yeah; m-hm.  I did, and she came there.  She went to the UN in ’97 with Bernard Punikaia and Catherine Puohala, and a lot of other patients that were being acknowledged.  It was World Leprosy Day or Month, the World Health Organization. And so, they got to meet Kofi Annan, the secretary general of the UN, and get medals.  And I still have her medal at my house.  And she got together in New York City, the only time she’d been.  And so she traveled, you know.  Like a lot of patients from decades of isolation, when they were able to travel, they just got out of Dodge and went all over the world—Belgium, and you know.  So, not everybody wrote a book, but she did.  And so, I think she made the best of the disease, I think.  She took the disease and said: You’re not gonna beat me down, I’m gonna beat you, and I’m gonna become what I’m gonna become, despite you, you know.  And she did. And you know, she made some enemies along the way.

 

She was feisty.

 

Yeah; she was not about to be pushed around, you know.  When she died in 2006, you know, I was in mourning for her, and I didn’t come to Hawai‘i for seven years after that.  My mom was gone, my dad, her.  There was really kinda no reason.  I’m gonna come here and get a tan?  You know. What am I coming here for?  And I came back in October of ’13 to put her gravestone.  I had a gravestone made in California with a picture of her and John, her husband, and it says: Together Forever on it.  It’s a nice little stone with the dates that they were married, and when they were born and died.  And took that over to Kalaupapa in October of ’13.  And that was the first time I’d been back in seven years.  And it sort of reminded me of what Hawai‘i meant to me, you know.

 

At what point during the seventeen years you really got to know Olivia did you decide: I want to do a play on this?

 

I didn’t.  Never.

 

Not at all during the seventeen years?

 

No, because it was happening, you know.  She would say; she says: Don’t ever make a movie about my life.  I said: Fine. You’re not so special, I’d say.  She’d say: Wait a second; what are you talking about?

 

Lorenzo DeStefano says that his cousin Olivia Robella Breitha taught him the value of fighting oppression, and to never lose sight of your quest for dignity. DeStefano decided to tell the early part of Olivia’s life story and her encounters with the stigma of leprosy through a one-act play he wrote and directed called “Shipment Day”, which was staged at Mānoa Valley Theatre in Honolulu, in late 2018.

 

She described to you what her life was like before she contracted the disease. And your play shows that, what it was like.

 

M-hm.

 

She was an eighteen-year-old, expecting to be married soon, and still living with her parents.

 

Yeah; yeah.

 

And very Portuguese household.

 

M-hm.  Yeah. Well, that’s in her book, as well as stories that she told me and stuff.   But it’s very much in her book in the early chapters.

 

What was the hardest thing about writing your Olivia play?

 

It really wasn’t difficult.  You know.  It wrote …

 

It wrote itself?

 

I won’t say wrote itself.  I mean, it was a one-act play, twenty minutes, and we did it at PlayBuilders of Hawai‘i, which is a local play development program run by Terri Madden.  It’s a terrific program that they have here.  And we won Best Play, and Ku‘ulei Shafee won Best Actress, and William Hao won Best Actor for this little twenty-minute thing we did.  And that’s what got Mānoa Valley Theatre interested in the full version.  And so, they asked me to write a full version.

 

[scene from “Shipment Day”]

It was in that moment that I became a stranger, leaving a home and people that I loved.

 

Inclusion is important.  And yet, people’s fears, you have to deal with them in a creative way. And that’s what’s great about cinema and theater, you know, is that you get people in the dark, and you kind of own them for a little while.  It’s a privilege, you know, to have people, especially when they bought a ticket, you know. And you need to honor that, the fact that they did choose to leave the house, when they really don’t need to leave the house anymore.  They can switch on anything they want.  So, to take that privilege of having them show up, and trying to maybe transform them a little bit, or … I don’t want to use the word educate so much, ‘cause that implies they’re not educated.  But to show them, expose them to something that they maybe weren’t expecting, you know; so that a controversial character, even someone who’s completely divergent from their belief system.  You know, if you’re a Democrat, and you take a Republican type character and make them human, that’s good.

 

Is there one paramount lesson or piece of wisdom you take away after having known Olivia for so long?

 

You know, basically, it’s like, don’t give up to the tormentors, you know, in your life.  You know, not everybody’s in an extreme situation like that, you know, where you’re really incarcerated.  Self-belief, you know, pride.  Not that kind of pride that’s boastful pride or anything like that, but inner strength, you know.  Yeah; she was strong, super-strong person.  Yeah.  That, I guess I take away, you know.  I guess I was drawn into those worlds, hidden worlds, which I think looking back—I don’t look back a lot, I try to look forward.  But looking back, I guess there’s a kind of continuity there, you know, of discovery, finding out what’s unseen or what’s overlooked, you know. And I think there’s a commonality there throughout everything I’ve done.  Which basically comes down to being a curious person, you know.

 

Lorenzo DeStefano is having his play “Shipment Day” translated into both Spanish and Portuguese with the hope of sharing Olivia’s story with foreign audiences. And as curious as ever, he continues to discover hidden stories to bring both the big screen and the stage. Mahalo to Lorenzo DeStefano, former islander, who makes his home in Ventura, California.  And thank you, for joining us for this edition of Long Story Short on PBS Hawai‘i.  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.

 

Everybody loves stories.  We’ve got to find some commonality here.  You know, as people get torn apart by political differences, and ideological differences, those maybe never can be healed.  You know, maybe we’re in a place where it’s getting wider, and wider for people being able to really find any place to relate. And I do firmly believe, and I’m certainly not alone in this, that the arts is one place, if you can get people in.

 

 

 

 

COUNTRY MUSIC
A Film by Ken Burns

TOP

COUNTRY MUSIC premieres September 15, 2019
All programs begin at 8:00 pm

Preview

 

Explore the history of a uniquely American art form: country music. From its deep and tangled roots in ballads, blues and hymns performed in small settings, to its worldwide popularity, learn how country music evolved over the course of the twentieth century. The series, directed by Ken Burns, features never-before-seen footage and photographs, plus interviews with more than 80 country music artists. No one has told the story this way before.


 

COUNTRY MUSIC: A Film by Ken Burns - The Rub (Beginnings – 1933)

The Rub (Beginnings – 1933)

Sunday, Sept. 15, 8:00 pm

See how what was first called “hillbilly music” reaches new audiences through phonographs and radio, and launches the careers of country music’s first big stars, the Carter Family and Jimmie Rodgers.

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COUNTRY MUSIC: A Film by Ken Burns - Hard Times (1933 – 1945)

Hard Times (1933 – 1945)

Monday, Sept. 16, 8:00 pm

Watch as Nashville becomes the heart of the country music industry. The genre grows in popularity during the Great Depression and World War II as America falls in love with singing cowboys, Texas Swing and the Grand Ole Opry’s Roy Acuff.

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COUNTRY MUSIC: A Film by Ken Burns - The Hillbilly Shakespeare (1945 – 1953)

The Hillbilly Shakespeare (1945 – 1953)

Tuesday, Sept. 17, 8:00 pm

See how the bluegrass sound spreads in post-war America, and meet honky-tonk star Hank Williams, whose songs of surprising emotional depth are derived from his troubled and tragically short life.

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COUNTRY MUSIC: A Film by Ken Burns - I Can’t Stop Loving You (1953 – 1963)

I Can’t Stop Loving You (1953 – 1963)

Wednesday, Sept. 18, 8:00 pm

Travel to Memphis, where Sun Studios artists Johnny Cash and Elvis Presley usher in the era of rockabilly. Ray Charles crosses America’s racial divide by recording a country album. Patsy Cline shows off Music City’s smooth new Nashville Sound.

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COUNTRY MUSIC: A Film by Ken Burns - The Sons and Daughters of America (1964 – 1968)

The Sons and Daughters of America (1964 – 1968)

Sunday, Sept. 22, 8:00 pm

See how country music reflects a changing America, with Loretta Lynn speaking to women everywhere, Merle Haggard becoming “The Poet of the Common Man” and audiences looking beyond race to embrace Charley Pride.

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COUNTRY MUSIC: A Film by Ken Burns - Will the Circle Be Unbroken? (1968 – 1972)

Will the Circle Be Unbroken? (1968 – 1972)

Monday, Sept. 23, 8:00 pm

Learn how country music responds to a nation divided by the Vietnam War, as Army captain turned songwriter Kris Kristofferson sets a new lyrical standard, and artists like Bob Dylan and the Byrds find a recording home in Nashville.

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COUNTRY MUSIC: A Film by Ken Burns - Are You Sure Hank Done It This Way? (1973 – 1983)

Are You Sure Hank Done It This Way? (1973 – 1983)

Tuesday, Sept. 24, 8:00 pm

Witness a vibrant era in country music, with Dolly Parton finding mainstream success; Hank Williams, Jr. and Rosanne Cash emerging from their famous fathers’ shadows; and Willie Nelson and Waylon Jennings launching the “Outlaw” movement.

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COUNTRY MUSIC: A Film by Ken Burns - Don’t Get Above Your Raisin’ (1984 – 1996)

Don’t Get Above Your Raisin’ (1984 – 1996)

Wednesday, Sept. 25, 8:00 pm

Learn how “New Traditionalists” like George Strait, Randy Travis and the Judds help country music stay true to its roots. Witness both the rise of superstar Garth Brooks and the return of an aging Johnny Cash to the industry he helped create.

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PBS HAWAI‘I PRESENTS
Tibetan Illusion Destroyer

PBS HAWAI‘I PRESENTS: Tibetan Illusion Destroyer

 

This film by Maui filmmaker Tom Vendetti documents the Mani Rimdu Festival in Nepal, which originated in Tibet and is still performed in an authentic colorful ceremony in the shadow of Mount Everest. The title refers to the Buddhist concept of destroying man-made illusions that lead to human suffering. Vendetti and renowned Hawaiian musician Keola Beamer were part of a Hawai‘i contingent that journeyed to Nepal to attend the festival. Beamer worked with musicians in Nepal to create the film’s original music.

 

 

 

COUNTRY MUSIC:
Live at the Ryman, a Concert Celebrating the Film by Ken Burns

 

Join celebrated musicians for a concert celebrating the film by Ken Burns. Hosted by Burns and featuring performances and appearances by Dierks Bentley, Rosanne Cash, Rhiannon Giddens, Vince Gill, Kathy Mattea, Marty Stuart, Dwight Yoakam and more.

 

COUNTRY MUSIC: Live at the Ryman, a Concert Celebrating the Film by Ken Burns

 

 

 

 

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