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ANTIQUES ROADSHOW
Extraordinary Finds

 

Ever wonder what happens after the ANTIQUES ROADSHOW cameras stop rolling? In celebration of 500 episodes, this special hour follows the stories behind pivotal series moments through all-new interviews with longtime appraisers and memorable guests.

 

 

 

PBS NEWSHOUR

PBS NEWSHOUR

 

The PBS NewsHour continues to provide in-depth analysis of current events with a news summary, live interviews and discussions of domestic and international issues.

 

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The PBS NewsHour’s mission — to provide viewers with intelligent, balanced, in-depth reporting and analysis of the most important domestic and international issues of the day — is even more critical today than when the broadcast began more than 40 years ago. The NewsHour team ensures audiences come away with a better understanding of the issues at hand allowing them to draw the most informed conclusions.

 

 

 

AMANPOUR AND COMPANY

AMANPOUR AND COMPANY

 

This new one-hour late-night public affairs series features wide-ranging, in-depth conversations with global thought leaders and cultural influencers on the issues and trends impacting the world each day, from politics, business and technology to arts, science and sports. Christiane Amanpour leads the conversation on global and domestic news from London, with contributions by prominent journalists Walter Isaacson, Michel Martin, Alicia Menendez and Hari Sreenivasan.

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Jim Dator

 

As a futurist, Jim Dator of Waikīkī has spent the last 50 years pondering and researching what the future might hold. He’s a pioneer in this academic field and is an internationally respected voice in futures studies. Learn how a series of family tragedies in his early life propelled him to always look forward, not back.

 

This program will be rebroadcast on Sunday, Oct. 27, at 4:00 pm and 11:30 pm.

 

Jim Dator Audio

 

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Transcript

 

There is a little monument in Kapiolani Park that was placed there at the 100thanniversary, 1976, I think, that’s supposed to be opened a hundred years later.  I have something written in there which assumes it will be under water.  Now, this is 1976, I’m saying that the park’s gonna be under water.  I did television programs uh, that were used in the schools that talked about Waikīkī being under water.  I live in Waikīkī; I’m concerned about that.  We’re still debating it.

 

He offers educated forecasts of what the future may hold for the coming decades.  Jim Dator, 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.  What does the future hold?  It’s a question that we ask ourselves from time to time.  Jim Dator of Waikīkī has spent the last fifty years pondering and researching this very question.  Dr. Dator is professor emeritus and the director of the Hawaii Research Center for Future Studies at the University of Hawaii at Mānoa. As a futurist, he studies a multitude of trends, ranging from social and environmental conditions to technology, and then develops forecasts, or alternative futures, for the next few decades and beyond.  He’s a pioneer in this academic field, and is an internationally respected voice in future studies.  While there are misconceptions about what futurists do, the field of future studies continues to grow, and has gained traction worldwide.

 

I think some people confuse futurists with psychics.  You get some jokes about: Why didn’t you predict this, Dr. Dator?

 

Yes. That’s right.  I used to have a statement: When all else fails, call a futurist.  But they call a futurist, and they want that futurist to predict the future, or to tell them what to do.  And there are futurists that do that; there are people that call themselves futurists that do that.  And they give a bad name to those of us that understand you can’t allow people to think that you know what the future is.  So, we have a code of ethics to make sure that we can’t predict what the future will be; we will engage you in a process of considering alternative futures, and you then decide to move in a certain direction.  It is more of a social science than it is of a natural science, but it is theoretically based.  That is to say, there are understandings the way the world works that allows you to make statements about forecast.  So, I distinguish between predicting the future, and forecasting alternative futures. And we still want to be able to be precise in the old scientific reductionist way.

 

When you’re familiarizing people with your alternative futures or future alternatives, it must sound pretty bizarre sometimes.

 

Well, yes.  Again, Dator’s second law of the future is, in a situation, in an environment of rapid social and environmental change.  In that environment, any useful idea about the future should appear to be ridiculous.  Because the things are changing, and things that are going to be important in the future are not things you’ve experienced before.  So, to be a futurist, you have to not only understand the trends from the past, but continue into the future of what are called emerging issues, new ideas, new technologies, new lifestyles, and you look for them just as they’re just popping out underground.  So, you don’t make it up, you see what could be a mighty oak if it grows in a certain way, or a cactus if it grows in a different way.  And therefore, you have to identify emerging issues, things that are not part of the past or the present, but which might be part of the future, and build scenarios around both the past and the emerging issues.

 

That’s right; you can’t rely on the same assumptions. You don’t even know if there are any assumptions you can make in some areas.

 

That’s true.  But we don’t throw it all away.  We do have categories; assume the categories will continue, at least for our foreseeable future.  But the content of those categories—so transportation, for example, has changed and might change.  Communication has changed tremendously over time.

 

As a futurist, Jim Dator studies the past and present to make forecasts about the future.  As he was growing up, he liked the idea of looking forward, rather than backward, because he and his family experienced many difficulties, starting with the death of his father even before Jim got to know him.

 

My mother did not intend to get pregnant.   She was anticipating a life as a musician or at least somehow related to music.  She was a student at the Eastman School of Music in Rochester, New York.  She got pregnant, they got married, and I was born. That was all fine, except my father drowned.

 

While you were still a baby?

 

I’m just about sixteen or eighteen months old.  Anyway, she had to come back to Florida, which is where she was originally from.  And we’re talking about 1933, 1934, which is the very depth of the Depression.  And so, my grandfather was the town undertaker.

 

This is her father?

 

Yes; that’s her father.  And was the town undertaker in a little town called DeLand, Florida.  His father had been one of the pioneers that had come and settled that part of Florida.  They were sort of fixtures in the town, having a furniture store and a funeral parlor, making coffins from the furniture store.

 

Well, that seems to bode well for the child who now has additional family.

 

Well, people die, but they don’t have money to pay for it.  So, he had the job of burying people, but not necessarily being paid, or not necessarily being paid in cash, but in kind.  So, we would get pieces of furniture or silverware, or other things like that.  Times were very, very tough.  And for me to show up, unwanted, and for his daughter, oldest daughter to return instead of going off to seek her fortune as he imagined.

 

It’s two more mouths to feed.

 

Yeah. That’s right, two more mouths to feed. And one of them a squalling brat, you know.

 

More tragedy struck Jim Dator’s family in DeLand, Florida during his youth.  Within a period of two years, all of the adult males in the family, including his great-grandfather, grandfather, and uncle, passed away suddenly.

 

Dying was not only the family profession in terms of the undertaker, but all the males in the family died all at once, leaving me as the only male with three females.  My grandmother, my mother, her sister—my aunt, were my family during the time I was young.

 

And what was your life like?  Was it a happy childhood?

 

No; it was not unhappy in the sense that I was well taken care of.  But no one felt really happy, and they didn’t show. So, I don’t ever recall being hugged and kissed, and being told I was a good boy, or anything like that.

 

Even when you were a young child?

 

No.

 

No?

 

I might have been, but that’s not the memory I have.  And I don’t recall feeling depressed.  That’s just the way it was.

 

Well, you don’t know what’s normal, I suppose.

 

No.

 

But you must have been a good student.

 

Well, but that was expected.  I was expected to succeed.  So, the things I did were never praised.  That was just what Jimmy did.  I had to overcome that, and to learn to love other people, and to love people who could love me back.  And so, I was sort of a driven kid.  I was extremely popular in terms of elections to things at various stages, but I never was a person that hung out with a lot of people.  I was friends with everybody, but not close friends with anyone.

 

Because you hadn’t had that intimate connection in your nuclear family.

 

No, I never had.  That’s right; exactly right.  I hated Christmas, let me put it that way, because all my friends got all these wonderful presents, which I never did.  I would get literally, an orange, or a walnut, or my uncle’s refurbished scooter. Something like that.  And also, the men died around Christmastime.  So, Christmas, which is supposed to be the big family joyous time, was always sort of the saddest time.  My aunt, she joined the military also during the war—SPAR, that’s the Coast Guard, which then gave her military preference, veteran’s preference for a really good job with the post office.  She never married, never had children.  She taught me how to be a man, and discovered at age eighty that she was lesbian.  But in between that, she’d never made the connection.  And so, I learned to be a man from this, again, not loving, but matter-of-fact, hardworking woman.  And my mother was off being a university professor, and didn’t pay much attention.  My grandmother had all this personal sorrow and hardship, because she had lived a fairly good middleclass life, and suddenly no money, no income, she had to do a lot of working on her own.  And so, we were just all expected to do our duty.

 

Did you ever go on a walkabout to find your father’s family?

 

Well, yes and no.  We were brought back, and I never wondered, I never felt the loss of a father.  In fact, if I may say before I get directly to that, in looking back, I was always glad I didn’t have a father, when I looked at other fathers and other families with fathers.  I was glad that I didn’t have somebody say: That’s not the way we do it in this family.  No one said that to me.  There was no one telling me that we have to behave a certain way, because this is the way the family does things.  I also like my name, Dator, because it’s a simple-sounding name, but there’s no ethnicity attached to it whatsoever.  And it turns out now in this day of the internet that there are Dators, Dator in the Philippines.  But I don’t think there’s any connection to that.  I suspect it was something like Dieter or Datorovich, or something that got shortened to it.  But at least I never had ethnicity, I never had a father, I never had a family history. And that’s one of the reasons I became a futurist, I think.

 

Because?

 

Because I didn’t have a past that was telling me how to behave.  I needed to find my own identity.

 

As a young adult, Jim Dator continued to look forward, while studying the past.  He graduated with a degree in ancient and medieval history and philosophy at Stetson University in DeLand, Florida, where his mother was a professor. He then earned a PhD in political science at the American University in Washington, D.C., and briefly considered becoming a priest, before deciding to center his career on teaching.

 

My very first job as a teacher with a PhD was to go to Japan, where I taught in a Japanese university in a college of law and politics in Japanese for six years. I encountered a group of people from an established university in Japan called Rikkyo Daigaku in the Ikebukuro section of Tokyo, if you’re familiar with it.  And they had created a new college of law and politics in this old established university, one of the so-called Big Six Universities.  And they wanted a new political scientist, a young political scientist to come and bring the American style of politics to that university.  And they said: We’ll send you to Yale to learn intensive Japanese.  And so, for nine months, from eight in the morning ‘til five at night, every day for nine months, I studied oral Japanese.  I didn’t know how to read and write, I didn’t know how to read and write anything; I just knew how to speak.

 

Futurist Jim Dator says that his six years working and teaching in Japan was a profound experience, and sparked his interest in future studies.

 

And while I was there, I met a person who said: Jim, I want you to read this article I’ve written; it’s called The Senior Partner, and it analyzes Japan as a civilization.  And he concluded that Japan went through the same stages, in the same order that the West did, each one about the same length of time, and that Japan was two hundred years ahead of the West.  And I said: What?  This is 1963, 64.  Didn’t we just beat them in a war?  Aren’t they underdeveloped?  Aren’t we the crown of creation?  Well, I never argued or cared whether he was right about Japan.  It just said: Well, wait, we have these theories of moving from underdeveloped, to developing, to developed, but what’s next? Development—didn’t say it then, and it doesn’t say it now.  It makes it act as though we’re the end of history.  Well, that is what made me a futurist.  That episode in 1963, it happened to be on the day that John Kennedy was assassinated, which is another part of the story.  But I said: Okay, I’m now gonna ask what’s next.  And so, all of the work I subsequently did in future studies came from that day, and I oriented all my teaching towards the future from that.

 

After a half-dozen years in Japan, Jim Dator returned to the United Stated and started the first accredited future studies program in the country at Virginia Tech.  In 1969, Dr. Dator came to the University of Hawaii at Mānoa to teach future studies. When he arrived, he found that Hawaii was interested in futurism and had recently launched statewide activities called Hawaii 2000 that would examine the possible futures of Hawaii.

 

When I arrived, Governor Burns and Tadao Beppu, and David McClung, and the people in the business community, and the labor unions, and the University, had already started something called Hawaii 2000, which was an activity to look thirty years ahead.  I had nothing to do with it; it had already been created.  But Glenn Paige, remember, of the political science department, was sort of the secretary of that.  And he said: Well, you know, we got this futurist at the University; why don’t you join the group.  And that is what really, really, beyond anything else, turned me into a futurist. Because that activity, which has never been equaled anywhere in the world, never been equaled here in Hawaii—we’ve tried several times, but the powers that be don’t really want to have people thinking about alternative futures.  But at that point in 1970, statehood was good, the future was looking good, tourism was just beginning to blossom, they wanted to look ahead optimistically, and it was no holds barred.  We had incredible variety of people, all islands had their own—Maui 2000, Kauai 2000, and so forth.  There were student groups, youth groups, university groups, elderly groups, women’s groups, all sorts of different groups.  If you look at the number of lectures, the numerous talks I gave to groups during that time, thousands of them.  Honolulu Magazine in ’73 or so said I could have been elected governor, ‘cause I knew so many people.  It was an incredible opportunity, a deep dive into Hawaii culture and thinking about the future.  I’m obviously still excited about it.

 

Interesting that you say that people were excited about the future, and therefore, they wanted to peer into it.  Do you find they don’t really want to look too far if they suspect the worst?

 

Not anymore.  I mean, even at that time—if you read the book, Hawaii 2000, the book exists, and there is a list of people who attended, the who’s who of the future, as well as of the present.  But if you look at it, all of the married women are Mrs. John Doe.  None of them have their own first name there.

 

Ah …

 

Can you imagine how un-futuristic that was?  It’s embarrassing to look at that.  But in any event, the groups of people who participated in it made me very optimistic about being able to change things, and all sorts of ideas. There were a number of task forces, and if you read each one of the recommendations of the task forces in their area, there was a desire to have open land, and high-rises, and mass transit. So, the idea is, we would not do what actually happened, divide up the large estates and give everybody a little piece of land.  We would in fact have as few landholders as possible holding things in trust, and we would keep land open as much as possible, and use high-rises spread throughout each one of the islands, linked by mass transit.  That was one example.  The things that we got most right was, we basically predicted the cell phone, and the network, internet.  If you read it, that’s almost totally predicted.  And we basically understood the changes in genetic engineering, and so forth; all the things that are now very controversial.  We understood that those would be emerging issues. So, in the area of technology, we did a pretty good job.  Completely missed the entire Hawaiian renaissance.  The Hawaiians that we had on the committee, and we had a lot, were of that generation that assumed they would be lost, that there would instead be what Governor Burns called The Golden People of the Pacific.

 

Yeah.  So, they were probably older, because that was the Western generation.

 

And they didn’t speak Hawaiian, and they were forbidden to speak Hawaiian.

 

And yet, the Hawaiian Renaissance was knocking on the door at that time.

 

If was already existing.  So, on the one hand, we missed women’s liberation, if you will, and we missed the Hawaiian Renaissance, even though they were there.  So, the moral to that story, and it’s still true, it’s a lot easier to predict, if you will, technology than it is social changes. And that’s still a problem for futurists.

 

In 1971, the State Legislature established the Hawaii Research Center for Future Studies at UH Mānoa, and appointed Jim Dator as its director.  Dr. Dator has developed the program into a world-renowned institution for futures research, and helped to educate four decades of futurists.

 

In general, during your just very long and successful career in academics, have people taken what you’ve said to heart and made changes?

 

Well, everyone said at the end of Hawaii 2000 or other things, people will come up and tell me that such-and-such an event changed their life.  So, I think that individuals have acted on it, but in fact, there was a point in the late 70s, after the so-called Arab oil crisis, when suddenly we realized that Hawaii is not really independent, that it’s highly vulnerable, that if the oil stops coming, things don’t go well, in which it became forbidden to think about alternative futures.  Even though Governor Ariyoshi used that term, and he did a better job than almost anyone else in doing futures work, it was still relatively select.  And the thing that worked, tourism, he didn’t want anything to upset that.  And so, you couldn’t really begin to think about other alternatives.  And so, I’d say from that point on, this heavily citizen-based free expression of ideas about alternative futures has been pretty much discouraged.  But there are certain other things that I have harped on over, and over, and over, and over again, like climate change, sea level rise, and so forth, that we still are debating and figuring out what we ought to do about.  We say we’re gonna do something, but in fact, we’re not yet really doing anything.

 

How do you gauge your success as a futurist?

 

Well, when I deal with a client, the success is not whether they enjoyed the activity.  Often, they do, and will say what I said earlier; it really changed my thinking. If the organization then institutionalizes future studies as part of their planning and policymaking, if they hire a futurist or engage in a process of getting information from the future of building their strategic plan around a prior futures activity—most don’t; most just go back.

 

Even after recruiting you and getting the getting you to study something?

 

Yeah, and enjoying it.  They go back, but some don’t.  The State of Virginia, for example, did incorporate futures into their judicial planning.  And there are other examples here and there, but basically, that’s my definition.  Other futurists might have other criteria.  Did it make a difference in the way they did business?  Do they now routinely begin to try to look ahead or not?  And we haven’t learned to do that as people, yet.  And who can blame us.  We have millions of years of responding only to immediate pressures. It’s in our genes, it’s in our psychology, it’s in our stories.  Look backwards in order to understand what lies ahead.

 

In addition to leading future studies at the University of Hawaii, Jim Dator served as secretary general, and then president, of the World Future Studies Federation.  Even though he’s retired, he continues to travel, teach, and consult.  At the time of our conversation in late 2018, he was teaching Space Humanity courses at the International Space University in France and the Korea Institute for Future Studies.  Mahalo to Dr. Jim Dator of Waikīkī, Hawaii. And thank you for joining us for this edition of Long Story Short on PBS Hawaii.  I’m Leslie Wilcox.  Aloha nui.

 

Futurists who are being minted now at the PhD level; how do they differ from you?

 

Well, they’re a lot smarter.

 

No, really.

 

No, that’s really.  I have some fantastic students.  In fact, on Saturday, I will hood my last PhD student, since I’ve retired from the University of Hawaii.  And he’s an absolutely fantastic guy who is already doing so many wonderful things all around the world.

 

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]

 

 

 

 

MOVEABLE FEAST WITH FINE COOKING
On the Road in Madrid, Spain

 

In this episode of Moveable Feast with Fine Cooking, host Pete Evans is on the road in Madrid with two of the city’s rising star chefs, Benjamin Bensoussan and Manuel Berganza. The trio creates a delectable feast in one of the most coveted Madrid rooftop restaurants, Picalagartos Sky Bar. Before the cooking begins, Pete, Ben, and Manuel head to an ecological farm on the outskirts of Madrid, and then make a stop at the famed restaurant Cinco Jotas, where Pete learns the right way to carve a Jamon Iberico (iberian ham). Back at Manuel’s restaurant, NuBel, the chefs cook up delectable Ceps Tatin, a Whole Roasted Suckling Pig, plus other mouthwatering local dishes-all to be enjoyed by guests at a spectacular Spanish rooftop feast.

 

 

 

Woody Guthrie All Star Tribute Concert 1970

Woody Guthrie All Star Tribute Concert 1970

 

Celebrate the legacy of America’s greatest folk singer with this 1970 concert at the Hollywood Bowl. Features Arlo Guthrie, Joan Baez, Pete Seeger, Country Joe McDonald, Odetta, Richie Havens, Ramblin’ Jack Elliott, Peter Fonda and Will Geer.

 

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LIDIA’S KITCHEN
Game Day Bites

LIDIA’S KITCHEN: Game Day Bites

 

Whether it’s American football or Italian soccer, game day parties are always popular. Lidia believes that there is nothing like a bountiful spread of food that will fuel the guests and get them cheering. On today’s menu, she serves fried mozzarella sandwich skewers and carrot and chickpea dip and pizza rolls made with both broccoli rabe and sausage and ricotta and leeks.

 

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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]

 

 

PBS NEWSHOUR
Election Night Coverage 2018

 

PBS NewsHour will present live coverage of the 2018 Midterm Elections on Tuesday, November 6, 2018 starting at 3pm HST. This special broadcast will be anchored by managing editor Judy Woodruff, with a panel of studio guests to include syndicated columnist Mark Shields, New York Times columnist David Brooks, Cook Political Report national editor Amy Walter, editor and publisher of American Greatness Chris Buskirk, MoveOn.org senior adviser Karine Jean-Pierre, and PBS NewsHour Capitol Hill correspondent Lisa Desjardins.

 

PBS NEWSHOUR SPECIAL ELECTION DAY REPORT 2018. Host Judy Woodruff

 

Joining NewsHour’s coverage remotely will be PBS NewsHour White House correspondent Yamiche Alcindor at the White House; presidential historian Michael Beschloss; former DHS official Juliette Kayyem; Wilson Center Kennan Institute global fellow Nina Jankowicz; PBS NewsHour Weekend special correspondent Jeff Greenfield; and PBS NewsHour correspondents Amna Nawaz, William Brangham, Jeffrey Brown, and John Yang in the field and in Washington.

 

The special will also include reporting throughout the night on local and state elections in coordination with local PBS and NPR stations.

 

 

A CHEF’S LIFE:
The Final Harvest

A CHEF'S LIFE: Harvest Special

 

After five momentous seasons of A CHEF’S LIFE, Vivian hosts Harvest Special, a farewell feast of epic proportions. This series finale begins as a tractor pushes through her family’s cornfield to carve out the open-air dining room of Vivian’s dreams. She gathers Summer’s last vegetables from Warren Brothers’ farm for a batch of chow-chow.

 
Preview

 

 

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