Hawai‘i

NA MELE
Peter Medeiros

NA MELE Peter Medeiros

 

Slack key artist Peter Medeiros, accompanied by guitarist Josh Silva and bass player Nate Stillman, presents a fun evening of traditional slack key. Joining the trio are the dancers of Pua Ali’i ‘Ilima, led by kumu hula Vicky and Jeff Kānekaiwilani Takamine. Songs performed include “Ulili E,” “He’eia,” “Ke Ala O Ka Rose” and “Kananaka.”

 

NA MELE
Kawai Cockett and Darlene Ahuna

NA MELE Kawai Cockett and Darlene Ahuna

 

NA MELE features the traditional Hawaiian music of Darlene Ahuna and the late Kawai Cockett. In this vintage performance, Kawai Cockett is backed by Sam Sepitmo and Charlie Wahineho‘okae. Joining Darlene Ahuna are her husband J.J. Ahuna and Led Kaapana. Ha‘aheo Cockett provides hula artistry.

 

LONG STORY SHORT WITH LESLIE WILCOX
Benny Rietveld

 

Benny Rietveld’s first experience playing music was at the age of six, in the piano department at Gem’s in Kapalama. “I liked the idea that you could press something, and it creates this…cool sound,” Rietveld remembers. He was mentored by band director Henry Miyamura at McKinley High School, and played in local jazz and rock bands before moving to San Francisco and touring with Sheila E. and Miles Davis. Today, Benny Rietveld plays bass for Carlos Santana, and still sits in with the Hawai‘i musicians he grew up with.

 

This program will be rebroadcast on Wednesday, Oct. 14 at 11:00 pm and Sunday, Oct. 18 at 4:00 pm.

 

Benny Rietveld Audio

 

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Transcript

 

Do you think music is more than just fun?

 

Totally; yeah. Music is powerful, music is magic. It allows us to do so many things invisibly. You can put it in the background, you can have it in the foreground, you can stop, start. You know, it’s always there, and it helps you celebrate things, it helps you mourn. It drives people to battle, you get married and you can create babies with it. It transports you, it reminds you of things in your life, just hearing something. Like, oh, my god, you know.

 

M-hm.

 

It’s an incredibly powerful force, and it can actually change people’s lives, you know. And that’s why I think musicians have a really big responsibility to just keep on point, keep being mindful, keep getting better, showing up. Because it’s a really powerful thing.

 

Benny Rietveld, who still calls Hawai‘i home, is the bassist and music director for Santana, a band he first heard when he was a young boy growing up in Honolulu. He’s been recording and touring with Santana since the 1990s, and he’s also known locally as a member of Topaz, a jazz fusion band that he and his high school friends had in the 1970s. Benny Rietveld, next, on Long Story Short.

 

Long Story Short with Leslie Wilcox is Hawai‘i’s first weekly television program produced and broadcast in high definition.

 

Aloha mai kakou. I’m Leslie Wilcox. Benny Rietveld has recorded three albums with the iconic Latin rock band Santana, including Supernatural which became a worldwide sensation when it was released in 1999. Rietveld was born in Holland to parents of Dutch, French, and Indonesian ancestry. They moved their family to Hawai‘i when Benny was three. He grew up in Honolulu, where he started showing musical talent at a young age.

 

I took piano lessons when I was six.

 

Why did you take piano when you were six? Now, that’s early. How did that happen?

 

Remember Gem Store on—well, I don’t know …

 

Kapalama?

 

Yeah; in Kapalama. Yeah. Well, we used to live in Kalihi, and so we’d go through there, and it was always the piano section, and I was always plinking on the piano, you know. And my mom thought, Oh, he’s musical. You know how kids, you know, they hit a hammer, and it’s like, Oh, he’s gonna be a carpenter when he grows up.

 

But were you plunking better than most kids, do you think?

 

I don’t think so. I just liked it. I liked the idea that you could press something, and it creates this cool sound. I think. That’s how I remember it. And then, so we got like a little piano, upright piano, and she gave me lessons at Palama Settlement. And I think the first teacher was named Mrs. Leong. I think. But I didn’t really like ‘em. And I was like, Oh, really? You know, really like boring music, and River keep on rolling. You know. I just didn’t get it. And then, when was ten, we still had the piano in the, you know, attracting dust. And then, the song Hey Jude came out from the Beatles, and it had that cool piano intro. I was like, wow, that’s cool. I was like, wow. And then, oh, it’s sort of like that instrument that’s in our living room. So, I was like, huh. And it was really easy for me, and it was really fun. So, I thought, well, this is great, I’m gonna keep doing this. You know.

 

Then you learned other songs.

 

And then, I learned the entire Beatles catalog, practically.

 

By yourself, or with a teacher?

 

No, no; by myself. Yeah. You know, then I was hooked. And it was like, this is fun, I don’t want to do anything else. And I was just on my way. And then, I met my cousin, the guitar player in Topaz, or calabash cousin, actually, Fred Schreuders. And he was slightly older than me, but he was already playing music. He was, you know, playing guitar, and his dad also played music. So, I was like, wow, cool. And we met, and we jammed, you know, tried to play songs together.

 

You were on the piano?

 

Yeah; and then, I branched out to drums, and then a little bit of bass. And then we started, you know, playing. Hey, let’s do a band, you know. And so, yeah, we put together a band. So, when I was about twelve, I was playing in these dances at, you know, Star of the Sea.

 

And that was kind of the beginning of that. So, you know, I met the guitar player for Topaz way back then.

 

You were just picking it up as you went.

 

Yeah; yeah. ‘Cause it was easy.

 

And you were playing for high school dances at age twelve, or middle school dances?

 

Yes; yeah. My parents were really worried. ‘Cause there were some situations where sometimes we’d play a party, and and more like a high school kids’ party. And so, there may have been some illicit drugs.

 

And it was nighttime.

 

And it was nighttime.

 

Driving.

 

Yeah. So, my parents, you know, lost a lot of hair.

 

And you gave them reason to.

 

A little bit. But, you know, I wasn’t that wild.

 

And where were you on instruments? ‘Cause right now, you’re a confirmed bassist.

 

Yeah.

 

How did you pick the bass, or did the bass pick you?

 

Well, yeah. This is the joke. Usually, the bass picks you. It’s usually because you don’t know anyone else who plays the bass. So, you’re like, oh, you play the bass. So, what happened to me was, I was playing drums in this little dance band, and our bass player left. So, we didn’t know any other musicians, but we knew one drummer. So, it was like, well, what do we do? You know, so we’ll just get him, and you play bass. So, that’s how it happened. But I kept playing guitar with Joe the Fiddler, because, you know, it worked better for chords and stuff, and I kept up on piano playing. You know, I just like always was interested in all of that stuff. But you know, I started getting kinda good on the bass, which is easy to do.  Yeah; so that was that. It just happens like that, you know.

 

What schools did you go to?

 

I lived in town mostly, and I went to McKinley High School.

 

You had a band director who is legendary.

 

Yes, legendary; Henry Miyamura. He’s like one of the big musical mentors of my life, and of Noel’s life, and of Allen Won’s life, too, the other guys from Topaz. He was … amazing. He was like that Mr. Holland guy. I mean, just deeply, deeply committed to the real essence of music performance, which goes beyond, you know, the notes and stuff, but the actual conveyance of the emotion or of the story, or of the tragedy or comedy, or whatever. And to get a bunch of high school kids, half of them who weren’t really gonna go into music anyway, or most of them, and get them to sound as good as he got those bands to sound was really a remarkable feat.

 

How do you think he did it?

 

I think he really loved music, and he loved people. He knew how important it was, you know, even if we didn’t. You know, we were kids then. He knew.

 

While Benny Rietveld was busy playing music through high school, his parents were thinking about his future. They didn’t consider music to be a suitable career path. But Benny was already doing what he loved, and it wasn’t long before his talents took him from the local venues in Hawai‘i to a larger stage.

 

Did you decide consciously, I’m going to be a musician as a livelihood?

 

I don’t think so. The only time it was a conscious thought was like as, you know, graduation from high school was imminent. Then my parents were like, So, you know, what are you gonna do? You’re gonna go to trade school? You should go to trade school, because you know, you learn a trade and make a lot of money. I guess they didn’t see me as the scholarly type, which I wasn’t.  And I said, Oh, I’m just gonna play music. I just assumed I was.

 

Were you already getting paid to play?

 

Yeah, yeah. Yeah. Just like, well, I don’t know. You know, I just thought I was gonna be a musician. And they went, What? No, you can’t. And they were very upset for a little while, only because, you know, they just saw their child being an intravenous drug user and being in the gutter, and you know, whatever. So yeah, I totally get why they freaked out. But then after a while, they thought, Well, he seems to be doing okay, and he’s playing, you know.

 

And you went to college right after that, here.

 

Not right after, but yeah, I did.

 

Oh; so you graduated from high school.

 

Graduated from high school. I was living on my own. I think for about a year, I was living on my own, then I got a scholarship for UH, through Mr. Miyamoto, who suggested I do that. So, he championed me as far as getting a scholarship.

 

And didn’t graduate.

 

No.

 

Because?

 

‘Cause I was also playing music, and then I got a road touring gig with The Crusaders. It was very short. But with all my other gigs in Hawai‘i, and then going off to the mainland for a little bit, just like I lost the whole momentum.

 

How did you make the transition from having lived almost all of your life in Hawai‘i, to the mainland, to the continent?

 

With scarves and heavy sweaters. Basically, that’s how I made the transition. I went to San Francisco first.

 

And that was, I’m going to go try my luck in the San Francisco Bay Area?

 

Well, because I had a friend there already. And he said, You gotta come here, there’s a lot of good music there. And there was, at the time. Lots of great musicians there.

 

You played with some biggies, fairly early on.

 

No. I mean, I don’t know. Pete Escovedo, you know, I learned a lot from him. Ray Obiedo, you know, he used to play with Herbie Hancock and really good songwriter. And a lot of really great local San Francisco Bay Area musicians.

 

When was the first time you played with someone that you went, Whoa, I’m with so-and-so, I’m intimidated?

 

Well, sort of like Sheila E, because her producer was Prince. So, he’d be around, and I’m like, Whoa, you know, ooh. You know. That was my sort of introduction to the high end pop world.

 

And you went on tour with Sheila E, didn’t you?

 

Yes, yes; for about two years.

 

How did you get along with Prince?

 

He was like kind of a mysterious background guy. So, he didn’t talk much to us, but he seemed okay, you know. But he kinda kept more to Sheila and, you know, just sort of like that.

 

Now, did that tour lead to anything?

 

Then I was playing around the Bay Area for a while, and then, I guess Miles Davis was looking for a bass player, and he kinda wanted that sort of Prince-influenced sound. Then we rehearsed, and I met Miles, and it was crazy. And I think I was too much in shock to be actually intimidated, tell you the truth. It was only until I think a year later, I was on the stage, and I was like, Holy crap, that’s Miles Davis. You know, and then I had that moment. But I think, you know, your body blesses you with the gift of shock, so you’re just, you know, immune.

 

And how was it? You know, you have to feel each other in music, you have to work together. How did that go?

 

It went fabulously. You know, he would, you know, give direction while we’re playing, and sometimes before the shows we’d talk about let’s do this part a little faster, or let’s do this kinda rhythm and, you know. And we would keep trying, and so really, back then it was like a laboratory, you know. Because we would do the same song, and it would just evolve. It was like a petri dish. I mean, the songs would evolve so that if you hear the same song two years apart, they’re almost radically different. You know, the tempo is like way slower or faster, and this part is really loud, you know. It was really, really interesting, and it just demanded that you focus a hundred percent on him and the music all the time. You know. That was the big deal.

 

You had to be really mindful.

 

Yeah; like mindful to an incredible degree, because if you weren’t, then then he’d know, you know, and then those eyes would, you know, turn. You know, zzzz, laser, laser. So yeah, you really had to have presence of mind.

 

So, you had a real sense of what he wanted, who he wanted—

 

Yeah, yeah, yeah.

 

–how he wanted.

 

Yeah, yeah. And yet, there was that … still, the challenge was to inject yourself in that, within that framework, you know.

 

And he expected you to.

 

Yeah; yeah, yeah, yeah. And so, that was really intimidating, ‘cause I felt like I wasn’t really mature enough as a musician to inject a lot of myself. I don’t know, maybe I did. I don’t know.  That was another coming of age thing, because I had to, I think, almost completely relearn music. You know, really music and bass playing, and the ethos of what it means to be a bass player and what it means to be a musician.

 

Why?

 

Well, because I hadn’t learned all these really basic fundamental things well enough, you know.

 

So, you were good enough to get in the band.

 

Yeah.

 

And once you were there, you had to up your game.

 

Yeah; yeah, yeah. It was like raw talent is one thing, but to really like hone it is another thing.

 

After two and a half years playing with Miles Davis, Benny Rietveld moved on. Two months later, he met Carlos Santana.

 

Coincidentally, I did a recording session with Carlos Santana.

 

You sound so casual when you say that.

 

Well, no. I mean, because it just happened, you know. It was somebody else’s session, and we met. And that was another intimidating moment, ‘cause it was Carlos Santana, and I grew up looking at that album cover, you know, and all that stuff, listening to all those albums over and over again. And he said, Yeah, you know, I might need another bass player, and you know. Luckily, we lived both in the Bay Area, so I called him and I said, Yeah, I would love to play. Are you kidding? You know. So that’s how that happened.

 

Aren’t you the musical director as well now?

 

Yes. I don’t know, I’m not really the musical director so much as like traffic cop. You know, ‘cause I consider Carlos actually is the musical director, ‘cause he’s very hands-on and he has an uncanny ability to know what he wants. It’s more about during the show itself, when he calls an audible, which he does every time, then I just help direct traffic. Okay, we’re going here now, instead of, you know, how we rehearsed it.

 

How much of the year do you go on tours?

 

With Santana, it’s roughly four to five months out of the year. But it’s broken up. You do get burnt out, you know, no matter what you do. And it’s always gotta be really, really high level, energy, fun. And the minute it’s a little bit below that, then we’re not doing it.

 

Do you ever get sick of being asked to play a song you love, but you’ve heard it and you’ve sung it … Black Magic Woman, so many times before?

 

No; love it. It’s great. I don’t care about all the other times I’ve played it. It’s like, oh, wow, this is the first time I’m playing it. You know. That’s special, and we have to convey that to people every time. That’s the hard part. That’s the higher level stuff. Not playing the music; the notes are like whatever, you know. That’s like hammering a nail; okay? But it’s how to get into that thing, and it sounds so, fluffy and goofy, you know. But that is, to me, the higher level of music.

 

Did working with Santana when you started require a different sensibility than working with Miles Davis? Did you have to shift in any way?

 

Only superficially, actually, with the style of music, the genre, you know. Because it’s more rock-oriented, Latin, which we hardly ever did in Miles’ thing. But in essence, it was actually very similar, because they both demanded passion and fire, and presence of mind, like all the time. And not being afraid, you know. I think that’s another thing. You cannot have any fear.

 

Is there a way to describe how they work musically, and how you work with them musically?

 

With both of those guys, it was about trying to … articulate the in-articulable.  That’s the weird part about music, is that like underneath the hood, underneath all the technique and theory, and all the numbers, which are all useful, underneath it all, I like to say the last thing that music is about is music. You know.  It’s really about feeling and life. And it sounds so, you know … fluffy. You know, like, Oh, it’s feelings. You know. But all the major guys hardly ever talk about nuts and bolts of music, you know. The jazz guys, a little bit more, because it’s more their realm, you know. But all those guys share the predilection for using aphorisms to describe music. It should sound like, you know, red wine streaming through. You know, something like that. And sometimes, it just sounds so bonkers, you know, to the uninitiated. But then, you realize it’s just a personal lexicon and a cosmology. And actually, now that I’ve known Carlos for a while, it makes complete sense, you know. Now when he says something, you know, like really poetic, I’m actually kinda knowing what it means in dry, boring music terms. Sometimes Miles would say—an actual musical thing would be like, Give that part a little lift. Instead of, you know, doong, doong, doong, doong; maybe like doong, ka-doong, ka-doong, ka-doong, doong, ka-doong. You know, all these little things between. I think everyone knows that deep down inside, it’s really silly to talk about music, because it’s the most abstract of all art forms, you know. But we try, anyway. We have to, sometimes. You know, we’re trying to convey what we want, you know.

 

Although Benny Rietveld lives in L.A. when he isn’t touring with Santana, he likes to come to the place he calls home: Hawai‘i. In 2014, he and some of his former bandmates from Topaz reunited for a show.

 

What brings you back to perform with your old high school buddies?

 

Love of music, and love of them. You know. We’ve kept in contact all this time.

 

And tell me what the names are. Who’s your gang?

 

The gang is Noel Okimoto on drums, Allen Won on the saxophones, Fred Schreuders on guitar, and Carl Wakeland on keyboards.

 

That’s a pretty amazing group from McKinley High School, isn’t it?

 

Yeah. Well, me and Allen, and Noel are from McKinley. Carl is from Mililani. Fred ended up graduating from Kaiser High School. We got kind of popular because we were this bunch of high school kids that could play this kind of difficult and technical music known at the time as fusion. And we loved jazz and all that. So, there weren’t many eighteen-year-olds playing that at the time in Hawai‘i. So you know, we got a kind of rep, and we were the little darlings there for a while, and we even played at La Mancha for two weeks. We disbanded ‘cause we all had stuff, and we were doing our lives. And Noel stayed here, so he’d play. And his late dad, unfortunately, George Okimoto, would go to his gigs all the time. And George actually managed us back then, because he was the manager of Easy Music Center, you know, by McCully. And so he was like, You know, you kids really got something. And he got us equipment to use, you know, cool new gear. So he was like our manager, and really championed us. Cut to couple of years ago. We’re at Gordon Biersch, I’m visiting, and I see Noel, and like you know, listening to him, Byron Yasui and all these great local guys. And there was Noel’s dad, George Okimoto, and he goes, Eh, hurry up, you know, get a reunion. And it was like, actually very bittersweet because he actually made a joke. He was like, Eh, hurry up, before I die.  And what I got from that was like, he wasn’t really joking around. He was like, you know, everyone is about to move on here, and you guys should do something, ‘cause it was really special. So, we did a show last year. It was really, really fun. So, this year again, earlier in the year, we recorded a CD. But you know, we all have these other crazy lives, and we’re not gonna like, Yeah, let’s have a band and tour together. That’s not gonna happen.

 

Did you ever conceive, did you ever think in your young life, that you would be in your fifties, and it’s a tour, it’s concerts and crowds, and music, and vans?

 

I had no idea. Who really knows what their thing is, you know.

 

And how long do you see that going on?

 

Playing music, being involved in music for me will go on until either I die, or I find suddenly that I don’t like it. You know. I don’t really see the latter happening.

 

Benny Rietveld has not stopped having fun playing music since figuring out how to play Hey Jude on the piano at age ten. Along with his raw talent, his dedication to his craft, his ability to work with people, his fearlessness and his determination took him to a world stage. Mahalo to Benny Rietveld, a proud graduate of McKinley High School in Honolulu, and longtime bassist for Santana. And thank you, for joining us. For PBS Hawai‘i and Long Story Short, I’m Leslie Wilcox. Aloha, hui hou.

 

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 PBSHawai‘i.org.

 

[END]

 

LONG STORY SHORT WITH LESLIE WILCOX
Laura Beeman

 

Head coach of the University of Hawai‘i’s Rainbow Wahine basketball team, Laura Beeman knows what it takes to win. She has revitalized the team drastically since her arrival in 2012, by pushing and inspiring her young women to reach their full potential, on and off the court.

 

This program will be rebroadcast on Wednesday, Oct. 11, at 11:00 pm and Sunday, Oct. 15, at 4:00 pm.

 

Laura Beeman Audio

 

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Transcript

 

Heartbreak a year ago. Elation this season.

 

It was a thrill of a lifetime. You know, and I still talk about it, I can get a big lump in my throat. And remembering in the locker room just this lump of winning the tournament. The range of emotion of seeing their hard work pay off, and being so incredibly proud of them for being that first team, to the community support and feeling the aloha twenty-five hundred miles away, and then feeling the stress that I had been under of … We’re supposed to win this tournament and go the NCAA, and what if I don’t, what a failure is that? And being able to sit in a corner by myself and go, Oh, my gosh, we did this. And just tears; just tears. Tears of happiness, of joy. It was, right now, a little emotional. It was an amazing experience. I want to get back there, I want to have this feeling again.

 

University of Hawaii Women’s Basketball Coach Laura Beeman likes winning. Yet, her drive to make her players the best they can be isn’t limited to the basketball court. She’s teaching them life lessons that will continue to guide them long after they graduate. Laura Beeman, next, on Long Story Short.

 

Long Story Short with Leslie Wilcox is Hawaii’s first weekly television program produced and broadcast in high definition.

 

Aloha mai kakou. Laura Lynne Beeman moved to Hawaii in 2012 to become the head coach of the University of Hawaii Rainbow Wahine Basketball Team. At that time, the team was losing more games than it was winning. It didn’t take Laura Beeman long to turn the team around. In 2016, only four years after she took over, the Rainbow Wahine won the Big West Conference Championship, securing a spot at the pinnacle event in college post-season basketball, March Madness. It was the program’s sixth appearance overall, but only the first in eighteen years. Laura Beeman has always been competitive; that’s the way she was raised.

 

Both my parents are very, very competitive. They’re self-made. And you know, my dad opened up a pharmacy with his brother right out of college, and it was an independent pharmacy. And basically, my mom supported him. You know, his parents told him, If you guys get married, you’re on your own. And they decided to get married, and my mom said, Well, I’ll put you through USC pharmacology. She did.

 

How did she do it?

 

She sacrificed her education, and she worked. So, I think that drive comes from them. You know, as a kid, I watched my father work seventeen, eighteen-hour days to support his family, so that his wife could raise children, and my mom doing everything she could to support her husband. So, I saw that hard work from a very, very young age, and was always told by my parents, If you’re gonna do it, you’re gonna do it right. You know, you’re gonna have a great attitude, you’re gonna give it all the effort you have, or don’t do it. And so, I think it was instilled at a very young age, even though I didn’t know that was going on. Youngest of four, and was immediately just thrust into sports. I have an older brother. And so, you know, growing up, we went to school with one another, we went to a Christian school, all the way up until middle school. And sports just became a huge foundation of mine and my brother’s life. You know, Sunday church, and then come home after church, go to a little grinder shop down the street, come back, open up the grinders, eat, and watch football. And so, that was kind of my life growing up.

 

When you went to college at California State University at San Bernardino, you earned a bachelor’s in business marketing.

 

Yeah.

 

And? [CHUCKLE]

 

I had no idea what I wanted to do with my life. And someone said, you know, business is probably one of the areas that is most marketable. You can do anything from being a sports agent, to get into law, to go into sales. And so, I thought, I have no idea, you know, what I want to do. I had been told by a woman who worked for my father, You can sell, you know, ice cubes Eskimos. And so, we always laughed about that. And so, I thought, let me go into business. So, while I was playing sports, I got my business degree with a concentration in marketing, thinking I could do sales or maybe sports agent. And then, graduated and was like, What am I gonna do with my life?

 

Then, what happened?

 

Well, I got a phone call from an assistant coach at the University of Redlands. And they said, We heard you’re in town, we have a graduate assistant position open, would you like to get your master’s paid for and get into coaching? And I thought, I have no idea what I want to do with my life, so let me market myself, make myself a little bit more well-rounded. So, I went and received a master’s in educational counseling. And I loved the counseling aspect; had no idea I would, and had no idea how useful that would come in coaching. So, when I started coaching at the University of Redlands, the basketball coaching bug; it bit. You know, I loved playing, but I had no idea I would want to coach.

 

What would you have done if you hadn’t gotten that call? And then, you get a free master’s. I mean, that’s quite amazing.

 

It is. Again, right place, right time. I have no idea. You know, I was working for my dad at his pharmacy. I probably would have continued to work for him. Had no desire to become a pharmacist. I don’t know what I would have done, but I would have worked for him until I landed on my feet someplace.

 

Do you remember how and when that coaching bug bit you?

 

I think pretty immediately. You know, when I went to the University of Redlands, it was sitting back and watching with the coaches did, and what I liked and what I didn’t like, and how kids responded and how kids didn’t respond. And then, really figuring out, Okay, these kids respond to me with a little bit of a different approach. And all of a sudden, it was like, Okay, this is kinda cool. You know, I can kind of figure this out as I go. I was there for two years, and that’s when Mount SAC, Mount San Antonio Community College in Southern California, the job opened up. I was not hired as the head coach; I was hired as the assistant women’s basketball coach. And again, watched how coaches did things, and how players responded. Fortunate for me, and unfortunate for that coach, it didn’t work out for her, and they hired me the next year as the head coach.

 

You were twenty-five years old.

 

I was young; yeah. I had players that were older than me, so I had to establish some pretty strong boundaries. And again, that goes back to my parents; it goes back to watching them have very, very good boundaries in their life and their relationship, going back to coaches I’d played for and coaches that had really good boundaries, and coaches that maybe didn’t.

 

What kind of boundaries do you need when you’re younger than your players?

 

Well, you can’t go party with them. You know, you can’t go drink with them. If you’re a male coach, female coach, you can’t date players. So, there’s a lot of things you can’t do. And you see that all the time; you hear of both female and male coaches that get involved with players, and that’s just a boundary that’s not appropriate. Going to clubs with them. So, it’s just setting these boundaries of … I’m in a different category; in a position of power, I guess, a little bit. And I think that a lot of people abuse that. And that was something that I was always very cognizant of, is respecting the young ladies. You know, I would never walk into a locker room and just walk in unannounced. Hey, I’m coming in, put your clothes on, you know, get yourself appropriate, whether it’s a male assistant coach walking in with me or not. There was just a very strong, strict boundary that I was always … always made sure that I held, and I wanted my players to see that. Because that’s something that as they grew in their life, there has to be boundaries in their life as well with relationships and other things.

 

From the beginning, were you pretty good at reading players? I mean, you’ve been in sports all your life, so you knew a lot about dynamics. What about reading individuals?

 

You know, some people think I’m crazy for saying this on the show. I went through a lot of counseling, you know, later on in my life. And that is probably what helped me read people, and understand human behavior. And it also allowed me to develop a philosophy that if I wanted players to be their best, then I had to help them get to their best; if I wanted my players to be their best, I had to be at my best. And so, reading players and reading people, human behavior, I feel like that’s something that I’m pretty decent at.

 

Sometimes, the things that help you get to where you are aren’t the best thing for where you need to go.

 

No; sometimes they’re painful, sometimes they’re hard. You know, I’m not a believer that everything happens for a reason, although I guess it does. But I’m not a believer in that. I think things just are cruddy sometimes, and they happen. But it’s how you deal with that, and it’s the after effect that can take you to a really good, solid place in your life where you can continue to live in that yuck. And I just decided there was a point in my life where I didn’t want to live in that yuck.

 

You were already an authority figure when you went for counseling; right?

 

Yes.

 

Was that hard, to ask for help?

 

Yes. [CHUCKLE] Absolutely. It’s hard to go in and kinda put your heart on the table, and get very vulnerable with someone, particularly someone you don’t know, and let them kinda not pick you apart, but say, Okay, let’s go here, and you’re like, I don’t want to go there. Very, very difficult, particularly as a coach, ‘cause you’re always in control.

 

How do you deal with stress? I mean, there are so many things you can’t control in your life as a coach.

 

Yeah. I think one of them is—you just hit it on the head, is admitting and knowing what I can’t control. There are just certain things that I cannot control, because I don’t know what’s gonna happen with it. I have two huge dogs that walk me, and I love that. So, I get them out, go on hikes, try to just enjoy the beauty of Hawaii. The quality of life here is very different than the mainland. And so, for as busy and as stressed as I am, I have learned to enjoy that. And it’s a forced … take a deep breath. Again, going back to what I said earlier, being my best me. I know when I’m tired, I know when I’m overworked, I know when I’m cranky and people don’t want to be around me.   And it’s that moment I need to say, Okay, pause, and admit it.

 

For fifteen years, Laura Beeman was head coach of the women’s college basketball team at Mount San Antonio in a suburb of Los Angeles. She became a legend, leading the team to a record number of wins and state championships. Three years after she left, she accepted the position of head coach for Hawaii’s Rainbow Wahine Basketball Team. The program was in serious need of revitalization, but before Beeman could turn things around, she would first have to change the team culture.

 

The first year of recruiting, you did bring us out of a big stall. [CHUCKLE]

 

Well, you know, the cupboard wasn’t bare. You know, the coach prior did a great job of putting, you know, things there, pieces there for me. And so, we were able to take that group of young ladies and kind of regenerate and rejuvenate them and say, Let’s go. And they really bought into the philosophy of it’s not okay to be okay, we want to be better than okay, we want to be great, we want people to recognize us as great. And they bought into that.

 

So, was that kind of a culture of, we’re good enough, it’s good enough?

 

Very much so. When I met my team the first time, that was the running theme. I said, Okay, what’s gone on? And I remember Shawna Kuehu; love her, came into my office last week. She said, Coach, I’m tired of just being okay, and it’s okay to be okay here. And I said, I’ve never been okay. I’ve never been average, I’ve never been okay, and now I know what the problem is. So, give me your laundry list of things we need to change, I’ll let you know the things that I can try to change and the things I know I can change. And the one thing I can change is that culture. We’re not gonna be average here. But you’re gonna have to work.

 

Yeah; you can’t change the culture by saying, That’s not okay. How do you change a culture? I mean, this is not just one thing, this is a system of beliefs.

 

Yeah. One, I think you have to walk the walk as the coach. You know, you can’t walk in and be on your cell phone, and again, the things I spoke of earlier, you know, using foul language. You have to present yourself as a winner. You have to present yourself as a champion. Whether or not you feel you are, you have to present yourself as that. And I truly believed that if I could get this group of young ladies to buy into, I don’t lose, you guys, and I’m not trying to be arrogant. Not at all. I’ve been fortunate to have wonderful assistant coaches and resources, and have been able to get kids to come together and say, Hey, look at my record, this is what we’re gonna do here if you buy in. And here’s another thing; if you don’t want to buy in … what you’re doing isn’t working, so try something different. And they did. And so, it was a daily challenge to say, No, tuck your uniform in, tie your shoes this way, get in here, get to class, do what you’re supposed to do. Get on the end line, work hard, or please leave the gym, because you’re the one that said you didn’t want to be okay, not me. I have my degree, I’ve won. Let’s go. And so, when you talk that way to kids and you paint that picture of, I really think I can do this, and we have a leader that knows how to do it …

 

And you challenge them.

 

Big time; big time. I’m not gonna let a kid sit back and say they want something, and then not work for it. You have two choices; tell me what you want and we’re gonna go, or tell me what you want and not do it, and then I’m gonna ask you to go ahead and sit over there in the corner by yourself, and do your thing. Because you can do that without me. But if you want to win, and you want to be good, then let’s get together and let’s do this the right way. Don’t tell me what you want do; do what you’re gonna do. And that was a challenge, and that’s where we took that first group of young ladies is, let’s go, that’s enough of this, we have talent. And they bought into it.

 

So, you started with these young women.

 

M-hm.

 

And you made inroads. When you find somebody you really want to bring over, how do you get them here when they’re really looking askance at Hawaii?

 

We sell Hawaii on connection. We sell Hawaii on relationships. We sell Hawaii on the community. You know, we have been fortunate that four of our five years, we’ve done very well. And so, we can approach the, Okay, we’ve won.

 

How did your system of recruiting change as you went along, where you got to be the Big West Conference winner and coach of the year?

 

Yeah. That was fun. You know, as young ladies evolved as players, we all of a sudden said, Okay, this is the system we want to run, this is what we need to do to be successful in the Big West. And so, you go out and you kind of recruit pieces that fit your puzzle, and fit your system. And so, we were able to, after that first year—we were late in the recruiting process. You know, you recruit two and three years in advance.

 

And you came, I think, before the 2012-13 season.

 

April; yeah.

 

April.

 

And so, recruiting, though, for you know, 2012, 13, 14, coaches are already in the mix. They’ve already offered kids that were ‘14s, you know, graduating in ’14. So, we were behind the gun. We went after some key pieces. We found a couple JUCO kids.

 

What does JUCO mean?

 

JC.

 

Okay.

 

Community college, two-year. Found a couple, you know, JC kids, went and found a fifth year transfer; immediate fixes, immediate pieces. Good character kids, but they were gonna have to work. And they were able to get the group together. And then, we were able to play catch up a little bit in the recruiting process, and then bring in people that we wanted; high character, great work ethic. Pieces as far as whether it’s post player or guard, bring in those right pieces. And then, by the year that we finished second in conference and went to the NCAAs, we had put our puzzle together, and that was a really fun year.

 

When you were looking for those pieces, you were looking for specific athletic strengths; right?

 

Yes; absolutely.

 

And you said, high character.

 

M-hm; m-hm. That’s important. You know, if I look at a kid that’s high character and I can get the effort piece, then I know I’m not gonna have problems off the court. When I’m bringing in a young lady where I’m constantly, Go to class, don’t go to the club, what are you doing, it’s taking energy away from where we want to put our energy. So, you know, I say as a coach, the two things you should never have to coach as a coach are attitude and effort. I’ll coach your ability, I’ll motivate you, but I’m not gonna coach your effort, and I’m not gonna coach your attitude.

 

But you don’t know how a young person is gonna act when they get to this new exotic place away from their parental eyes and family.

 

You hope that you’ve developed enough of a relationship in the evaluation process of going out and watching them play, over the phone, through some text messages, talking to parents, that at least you’re not gonna completely get it wrong. Now, have I it got it wrong? Absolutely. And I’ll get wrong again. But you really try to develop a relationship. Recruiting is a relationship, it’s a fit. It’s not just a, I like the way you play, come play for me. There has to be more to it, so that you can keep kids here.

 

And I’m sure there’s always the temptation to say, This person has great raw talent.

 

M-hm.

 

I’m gonna take a big chance on somebody who doesn’t have a lot of the other elements.

 

M-hm.

 

Have you done that in your coaching career?

 

I have. I did that at Mount SAC a lot, because I’d already developed a culture, and I knew when I had a kid, say, that would come in with a bad attitude, I had fourteen young ladies in that locker room that were gonna help me manage them. And a couple really good captains that were gonna keep them in check. I couldn’t do that my first two years here, because we hadn’t developed the culture. When you get a good culture, you can take some risks, you can take some chances, because you have that base of great locker room talk. Where they come in and they’re like, Hey, let’s do this; and your captains go, No, that’s not what champions do, let’s not do that. So, when you get a little bit of a better culture and a foundation, you can take more risks.

 

How have local recruitments gone?

 

Tough; it’s tough. Th—the theme right now and the trend right now, they want to go to the mainland. They want a mainland experience. And some of them do well and stay, a lot of them come back home. Um, I would love to keep our local talent here, but it’s—it’s tough to fight the—the allure of the mainland. So, right now, we’re going after ‘em; we’re offering kids. I just have to keep them home.

 

And you don’t have a lot of people who are really tall awaiting—

 

[CHUCKLE]

 

–your call either in Hawaii.

 

Yeah, you know. But I have some tremendous athletes, and I have young ladies that understand the culture, and understand what it feels like to represent the State of Hawaii, and uh, play in front of their family and their aunties and their uncles, and that’s—that’s huge. So, um, I can find the guard or the forward, possibly, that wants to stay; yeah. Would I love there to be a six-four, six-five local kid that wants to stay home that can play basketball? Absolutely. Um, whether or not that happens, those are things I can’t control, I don’t worry about it. Right now, my challenge is to keep ‘em here.

 

 

Recruiting players and training them to perform during practice and games are only part of Coach Laura Beeman’s job. Teaching young people to become top athletes often requires coaching them off the court as well to learn the life skills they’ll need to achieve their athletic goals.

 

John Wooden, a great basketball coach, coined for this phrase of, Kids don’t care how much you know until they know how much you care. And so, when you get people, business, team, whatever it is; when people really know you care about them, then you get a common goal, and people want to work hard for you. And that’s not just. Let me fake caring about these kids, and then they’re gonna work hard. My players know I genuinely care about them.

 

How do they know? Do they test you?

 

Of course they do. [CHUCKLE] What children don’t test; right?

 

How do they test you?

 

They’re gonna see how far they can take the discipline. You know, if they miss a class, is Coach really going to, you know, suspend me?

 

And that’s constant management for you.

 

Oh, yeah.

 

Isn’t it?

 

Yeah. And it’s constant discipline for me to stay consistent. Kids say they don’t want discipline. Kids love discipline, and they want consistency. So, it’s a test for me to say, We just talked about this last week, here we go again. That’s where I have to be very disciplined in what I do.

 

And the punishment is, they sit out?

 

Yeah. And you know, I don’t like a lot of rules. I want my players to manage themselves and discipline themselves, and know the right way to go. There is an area, though, that I don’t have any wiggle room; and that’s academics. A lot of coaches, when kids don’t go to class, they put ‘em on the track and they run ‘em. Well, my kids are already in shape, so running ‘em is very easy. I sit ‘em. And for my mainland kids, I sit ‘em when they go home. I let ‘em warm up, and don’t tell ‘em, and they go through all the warmups so people know they’re not hurt, and then they don’t play. And then, the parents come and say, Why did my kid not play? Go talk to your kid about her academics. Doesn’t happen again. And I tell my players that up front. I will put you in the position where you’re going to now get in trouble by your parents, not just me. So, we have a 3.1, 3.2 GPA. And that’s a pretty good GPA when we do as much traveling as we do. And I have a committed group of young ladies that understand that rule very, very clearly.

 

Through the time you’ve been coaching, have the issues that your players bring to you, personal issues, have they changed?

 

No. When I was at Mount SAC, I dealt with a population that—most of the population, single parent, first generation college, a lot of learning disabilities, and a lot of abuse. Whether it was substance, domestic, sexual; a lot of abuse. And so, basketball became the carrot that they wanted dangled in front of them, because that was their way out. That was their way into a better life. So, I would say that I didn’t deal with it as much. Not that it wasn’t there, but the kids didn’t have the need to come and talk to me as a coach. It was USC, different socioeconomic status. Coming back to Hawaii, the problems are the same, and it’s just do kids know that they’re there, do kids want to talk about ‘em. And my door is always open in case they do.

 

What about a difference in—you know, we’re seeing a change in generations and use of media. I mean, all kinds of changes in society. Is that reflected in the players you coach?

 

It is. You know, they’re very connected all the time to their devices. And I remember the first time I ever thought, Wow, there’s a separation with connection. A player texted me and said, Coach, you know, my grandmother died. And I’m like, Don’t text me that; come and see me. We need to give a hug here, we need to have a conversation, I need to check in with you. And all of a sudden, you get those types of conversation in text; there’s a disconnect. There’s an appropriate way of text messaging; Hey, meet me for coffee. Great. But don’t tell me a life issue through a text message, because I can’t see how you are and you can’t relay how you are, and it just allows kids to build this huge wall where they don’t get vulnerable, they don’t share emotion. And it doesn’t have to be with me. But I don’t think anyone can hide behind a wall their entire life and have healthy relationships. So, there’s a huge disconnect, more today than when I started at Mount SAC. And I’m dealing with the same age group; right? I get older, they stay the same.

 

And so, you’ve gotten a chance to see what happens to your eighteen, nineteen, twenty, twenty-one-year-old players. What have you seen as far as after their sports involvement? What happens?

 

Lot of them have gone on to coaching. Couple of them are in administration. You see them get married, have children, or great relationships, you know, get jobs where they’re successful. And a lot of them come back and say, Coach, you know, this is what I’m doing. Going to weddings, and you know, it’s been great to see them grow as young women, and see them apply some of the things that they fought you on [CHUCKLE] so many years ago.

 

And now, they enforce.

 

And now, they enforce. You know, I watch them coach, and I’m like, Okay, now they get it, they get how hard this is. And watching them have those boundaries and those rules, and it’s really fun; it’s really fun.

 

Did you have to go through a learning curve to be accepted here? Did you have to change anything about yourself?

 

That’s the weird thing for me, is I feel like I’m more myself here than I’ve ever been, because of how accepting people are. I got some great advice when I was hired. You know, don’t get political, stay out of it. You know, understand the culture, and some key things about the culture. And I listened to that. And also, saw that the people that were mentoring me, and on my interview committee, and women that came up and said, We want to be on your hui, we want to help you, were authentic. And they were just transparent in everything they did with me. And I saw that. And I thought, Okay, you need to be Laura Beeman, you can’t be anybody else, you have to be Laura Beeman. And if you’re honest and do things the way that you feel is right, even if you make a mistake, people are gonna be okay with that. I don’t know why I was embraced here so quickly. But I’m thankful for it.

 

You have a statewide constituency as coach, especially in the islands, because we don’t have professional sports. And so, you know, statewide audiences are watching, and proud, or willing to complain.

 

And when they see you embrace the culture, and they see you embrace—I’m just gonna say it, the aloha spirit, they love that. And so, when you have an off year—I’ve probably had more people come to me this off season and say, Coach, great job. And this is the worst year we’ve had. Because they see it in my face that this was a tough year, we struggled. This is not what I wanted. You know, this is not meeting my expectations. And so, pounding my head against the wall, what I did wrong, I’ve had more people come up to me and say, Keep doing what you’re doing. That doesn’t happen in a lot of other places. You walk through the airport, and instead of someone looking at you and giving you stink eye, they come up and they … Thank you, Coach. And you know, Can we take pictures with you and your team and, can you sign this and, my little girl wants to meet you. And that comes at wonderful, wonderful times when it’s tough. I feel that the community here sees these kids in the community, they see these kids going to class and graduating, they see the work that we’re putting in, and embracing what we have here. And I think that that’s something that when you live here, you understand it. If you don’t live here, you don’t.

 

You’ve been through a lot of victories in your life, though.

 

Uh, yeah.

 

Does it get old hat?

 

No, no, no, no, no. [CHUCKLE] Winning is fun.

 

When Laura Beeman first arrived at UH, the buzz was quite positive. Her hire was considered a good get for the University of Hawaii. And since then, there have been rumors about certain Pac-12 schools being very interested in hiring her away. At the time of our conversation in 2017, five years in, Coach Beeman said Hawaii has been good to her. She did mention that coaching at this level is tough on the body and the daily schedule, and there will be a time when she’d like to explore athletics administration. Mahalo to Laura Beeman of Honolulu, and thank you for watching Long Story Short on PBS Hawaii. I’m Leslie Wilcox. Aloha, a hui hou.

 

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.

 

You have to make a lot of real time, fast decisions when you’re in the middle of a game. How do you do that? And do you have trouble doing that at all?

 

At times, for sure. At times, you can get caught up in the emotion, you can get caught up in a certain play and miss what’s going on over here. That’s why I have incredible assistant coaches. They don’t miss a thing.

 

It’s teamwork. This is not the Laura Beeman Show; trust me.

 

[END]

 


FAMILY INGREDIENTS
California – Smoked Fish

 

 

FAMILY INGREDIENTS: California - Smoked Fish

 

In the Season 2 premiere, singer-songwriter and surfer Jack Johnson shares memories of his father on a road trip along the California coast. Enjoy the music, smoked fish and tales about early surfer migration to Hawaiʻi.

 

Airdates:

Wednesday, October 11 at 7:30 pm (premiere)

Wednesday, October 11 at 11:30 pm (encore)

Sunday, October 15 at 4:30 pm (encore)

 

Broadcasts of Family Ingredients on PBS Hawaiʻi are sponsored locally by:

INSIGHTS ON PBS HAWAI‘I
What Happens to Hawai‘i Elders Who Don’t Have a Personal Safety Net?

 


Whether it’s job loss, illness, divorce or other life circumstances, some islanders find themselves at wit’s end, running out of money in retirement. What options do they have? And how are Hawai‘i taxpayers affected? What happens to Hawai‘i elders who don’t have a personal safety net?

 

Your questions and comments are welcome via phone, email and via Twitter during the Live Broadcast.

 

Phone Lines:
973-1000 on Oahu or 800-238-4847 on the Neighbor Islands.

 

Email:
insights@pbshawaii.org

 

Twitter:
Join our live discussion using #pbsinsights

 

PBS HAWAI‘I PRESENTS
Voyage of the Hōkūle‘a

 

Witness Hōkūle‘a’s inaugural 1976 journey from Hawai‘i to Tahiti, the preparations leading up to it, and the behind-the-scenes turmoil that threatened to derail the voyage. Rifts are seen among leadership, between leadership and the crew, and among crewmembers. The film by Dale Bell was co-produced by the National Geographic Society and WQED Pittsburgh.

 

KĀKOU – Hawai‘i’s Town Hall:
Have You Fact-Checked Your Truth?

 

With ever-increasing divisions in our country, PBS Hawai‘i introduces a new series of live town hall events called KĀKOU – Hawai‘i’s Town Hall. In this first live discussion, we ask: “Have You Fact-Checked Your Truth?” We take on the meaning of “truth” and how we view truth in an era of “fake news,” “trolling” and filter bubbles on social media. Is there one truth – or is truth in the eye of the beholder?

 

You can email us with your thoughts in advance at kakou@pbshawaii.org, or post on Twitter using the #pbskakou hashtag. The town-hall will also be live streamed on pbshawaii.org and on Facebook Live, where you can also join the conversation.

 

 


NA MELE
Nina Kealiʻiwahamana & Bill Kaiwa

Nina Keali‘iwahamana & Bill Kaiwa

 

The magic of Hawaii Calls is revived when Nina Keali’iwahamana joins Bill Kaiwa for some traditional Hawaiian classics in this special encore of a classic NA MELE. Nina and Bill are joined for this journey down memory lane by Martin Pahinui on bass, and Steven Hall and George Kuo on guitar.

 

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