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LONG STORY SHORT WITH LESLIE WILCOX
Jordan and Aaron Kandell

 

Jordan and Aaron Kandell are twin brothers who are best friends and Mānoa neighbors. As children, they were so close that they would finish each other’s sentences. As young adults, the brothers teamed up in a career in which they completed each other’s creative ideas: screenwriting. The ʻIolani School grads and college poetry majors are best known, so far, for their work as part of the writing team behind Moana, the 2016 Disney animated film. They hit it big after a solid decade of hard work, grinding out script proposals and receiving a litany of rejection letters. Says Jordan: “If you’re gonna take every ‘no’ personally, I don’t know how you move forward.”

 

This program will be rebroadcast on Sunday, Dec. 15, at 4:00 pm and 11:30 pm.

 

Jordan and Aaron Kandell Audio

 

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Transcript

 

It takes a lot of energy and effort to sail across the vast oceans of life to get to where you want to go, and if your worry and fear are energy trains from the focus that you need for the energy of that voyage, you have to go after what you love.  What your curiosity leads you to, wherever that’s going to take you as courageously as you can. And that’s the only way you give yourself a chance of reaching that goal, even if it seems kind of impossible or not even crystallized for you.

 

Together, these Hawai’i born twin brothers continue to pursue their shared dream of making Hollywood movies. Aaron and Jordan Kandell next on Long Story Short.

 

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

 

Aloha mai kākou I’m Leslie Wilcox. I found it transfixing to listen to twin brothers Aaron and Jordan Kandell of Honolulu when they’re in spirited conversation they are very much in sync and that’s even when they don’t completely agree. You don’t know which one is going to finish the sentence. The brothers are almost inseparable in both their professional and personal lives. They joined the screenwriting team for the 2016 hit Disney animated film Moana, which features the voice of Dwayne The Rock Johnson. And they continue to write together as a dynamic duo and have recently begun producing Hollywood movies such as Adrift, which was released in 2018. Both twins have young families and they even live next door to each other in Mānoa Valley. Aaron and Jordan say their parents, Lloyd and Sherri Kandell, were hippies, originally from the U.S. mainland who once lived on the north shore of Kaua‘i, a near Taylor camp, which was a clothing optional alternative community of people living in tree houses. The couple later moved to O‘ahu and settled down in Kaimuki, and they were surprised when not one baby, but two babies arrived.

 

Being the hippie parents, they didn’t do an ultrasound. They had sort of a natural doctor who just did a stethoscope, and Aaron, had we found out later he’d gotten sort of pushed up, probably kicked by me under my mom’s rib. So that when they did the stethoscope, her heartbeat overpowered the sound of his. It was so close that they only heard one here and one here. So the doctor for her entire pregnancy said, you’ve got one.

 

But everybody, she was huge. I mean, we were like six pounds each. So she had this giant beach ball belly. And their joke was everybody but them and their doctor knew that they had twins.

 

Like, you know, o-

 

Aunties would come up to her at the beach or in the market and touch her belly and go twin when they actually had the births. She tried to do a home birth and it turned into an emergency. Rushed to C-section. And they pulled him out first. And their doctors were getting ready to stitch her back. They said, wait, we have another pair of feet in here.

 

Ohh…

 

Imagine not knowing that there is suddenly the doctor saying we see an extra pair of feet in there after they pulled me out. And so fortunately, it was him and he was healthy and they pulled him out. And for the first two weeks, we were baby A and baby B because they didn’t know that, they didn’t have names picked out. They had to get all of these se- new crib, new sets of clothes. It was just all a surprise.

 

Are you identical twins?

 

We don’t know-

 

–Because of the surprise birth.

 

Yeah.

 

We never had the all of the you know, there’s varying kinds of tests that you can do with the placenta or DNA when you’re born that identify if you’re identical or fraternal that we never had done in the rush of the emergency uhh, delivery. So we never actually verified-

 

Yeah, we don’t know.

 

-to confirm if we’re identical or fraternal. I assume we’re identical.

 

Well, how do the dynamics work between the two of you? Was there a time when you didn’t get along or that you I mean, how-

 

I mean, we’re kind-

 

-has your relationship evolved?

 

I mean we’re kind of Peter Pan and his shadow. Like if one of us gets too far away, the other chases them down and stitches them back to their feet. Uhh, we’ve always been that way. I mean, we’ve- We- all we know is collaboration. We’ve just had to share everything from the same room until we were 18. I think, you know, we were roommates in college. Uhh, we wished we had been able to take the same classes in school. Umm, and the first chance we got, we did. We’ve always been interested in the same everything. Same sports, same books, same girls, same career.

 

Ohh that sounds dangerous.

 

That was dangerous.

 

Same girls.

 

Yeah.

 

Sounds like that’s the real story.

 

Yeah, well we had a- we’ve been, because everything’s been collaborative. We’ve never really fought. It’s just been like having a best friend all the time who thinks like you and looks like you, which you know could be narcissistic, but-

 

Yeah.

 

it’s outside of you. So it’s not.

 

And interestingly, the two girls I think we weren’t both interested in at the same time became our wives like-.

 

Thats right.

 

His high school sweetheart is who he married. And I had a high school girlfriend. So I was never interested in her, any other girls at that time. And so that one ended up working out. But before he met his wife in senior year of high school-

 

Yeah.

 

Umm, one of our good friends set him up on a date in high school with, who became my wife. And they did not hit it off at all.

 

No.

 

They had like the worst date of each of their lives.

 

So this is good right?

 

Well, it’d worked out. Yeah-

 

This is a good thing.

 

Well, then two years later, when the same friends tried to set him up, I was like, its- whats- it’s oil and vinegar. It’s not going to work. What are you thinking? And then they just sparked-

 

Instantly.

 

-instantly.

 

Wow, who would’ve guessed that.

 

So it was a weird.

 

Yeah.

 

You know, a weird dynamic, how that worked.

 

This has been such a strength for you to have your friends, your family, you’re professional collaborators. Is it ever a weakness?

 

Being twins?

 

The way you are twins,-

 

-okay, that’s a good question. I-

 

–Because not all twins are as close.

 

I- I don’t want to speak for other people that I would say it’s probably more of a weakness, for everybody outside of the weird lynchian twin bubble that is our existence, because for us it’s all we know. So anything that’s not sharing and having it- like us going to a movie theater by ourselves to watch a movie feels weird. There was a moment, I think, when I was twenty seven where Jordan moved back here with his wife and I was still living in L.A. and I had uhh, and it was a year and I had a year of oh, this is what the human condition is, is being by yourself and having to find community. And like a deep sense of loneliness because I didn’t have this like shadow attachment to me that I’d always had of everything is a shared experience. So anytime you’re sitting and eating a meal, that’s with somebody else.

 

Right.

 

Umm, And- and so I think for other people to- Not y’know for our wives at first, like dating and having to get used to the fact that we were already born with our soulmates, so finding a second soulmate and bringing that into the mix is a weird alchemy. Uhh, that becomes, I think, challenging.

 

They’re probably cringing hearing you call me your soulmate

 

Probably.

 

From a young age. Aaron and Jordan Kandell were very close and shared friends, sports and activities. But what influenced them the most was their shared love of reading and writing.

 

Whenever we had free time, whether it was at recess or a lunch or a soon as-

 

-eating-

 

we got home after school, we were just like this.

 

Yeah. Umm, We- I think we read a book a day and-

 

-And did ‘Iolani homework?

 

Well, we didn’t have homework until like fourth, fifth grade.

 

Yeah.

 

So those first y’know four grades was just our bookshelf literally collapsed from the weight of all the blocks we were reading. It was a lo-

 

Yeah, we’d read like 300 bucks a year.

 

It was crazy.

 

So you spent your early years reading, reading, reading, reading. At what point did that turn to writing?

 

Early too. Yeah.

 

Pretty early, I think from like second, third grade.

 

We have- I have a memory of getting an assignment that was write a three page, double spaced, huge kid print story that would take, you know, 15 minutes when you got home. And we each separate of each other went and just started writing and both turned in like a 30 page single spaced story the next day, because we just got lost in the world that we started to-

 

-And also we couldn’t charge. So it was easier for words.

 

We still can draw. But umm, and so I have a very distinct memory of going, oh, like that was fun. And I just go where did the time go? And that was second or third grade. And ever since then, we-

 

What did your teacher say?

 

They were like, oh, wow, cool.

 

Future screenwriters and film producers Jordan and Aaron Kandell of Honolulu both pursued their love of literature and studied creative writing at the University of Southern California. However, they did not start off working together on screenplays.

 

Over the course of college, we discovered uhh, something you would think you would have known right off the bat, which is we loved writing- both of us. We wanted to work together. We both majored in poetry.

 

Which is not very collaborative.

 

No it is not.

 

We discovered very quickly that poetry is probably really the least collaborative form-

 

Right.

 

-of poetry you can do unless you’re like- your entire [INDISTINCT] of work is Renzos. Which is a form training lines back and forth. Uhh, but there’s very limited styles of poetry that are collaborative.

 

Right.

 

Screenwriting and TV writing especially are the most collaborative form of writing I can think of. Umm, and so we were studying those as well and started to write our first screenplay in college together and thought, this is- this is so much fun and this is so natural-

 

Yeah.

 

-and combines kind of the best of what we loved in reading growing up. All these novels and these long form umm, stories-

 

Mhmm.

 

-with what we’ve been trained and are pulled towards in poetry, which is saying as much as you can in as few words as possible, which is very much the limitations uhh, that the screenplay form has about things with which words often are, you know, struggle to capture. And that’s the visual medium of- of film and TV.

 

Yeah.

 

And so it kind of combined everything we loved into one form.

 

What did you do after you left USC? Having decided to become screenwriters, which is an almost impossible job-

 

Yeah.

 

–to get in Hollywood if that’s where you’re heading.

 

We ate a lot of peanut butter sandwiches.

 

Yeah. No. We came straight home and became teachers. Yeah.

 

That is true.

 

It is what we did. Umm, so we taught at Punahou and ‘Iolani. Umm-

 

What did you teach?

 

I taught tenth grade English uhh, for a year.

 

And I taught ninth grade Spanish.

 

And then in the summers we taught and- and that was the first year. And then we started substitute teaching pretty much every subject you can think of.

 

Every grade, everything from kindergarten to like conducting the full orchestra without any orchestra experience.

 

And- but a lot of moviemaking and a lot of S.A.T. prep.

 

Yeah.

 

You’re saving money, I’m taking it with all these teaching jobs.

 

Yeah. So we were- We- We would teach all day that first year and then write all afternoon when we were done grading and lesson planning and all weekend. Uhh, and then when we went to substitute teaching, we would try to maybe-

 

Just enough to survive. So like teach one or two days a week and then write the rest of it.

 

So we very much saw from the beginning writing as our full time job and teaching was something we loved and we’re very passionate about. But our first and foremost uhh, pursuit was writing, and so that was allowing us to do the writing.

 

And were you also looking for those all important contacts to get you to the screen?

 

No.

 

No.

 

-Because we were here. I mean, there wasn’t- We didn’t- We were not guys born into it, connected in any way, had any uhh, knowledge or access for who to talk to to get there.

 

Even USC couldn’t say, hey, lets- lets-

 

-I mean, USC was-

 

–Lets reach out for you.

 

-USC was great in giving us sort of the launch pad for what the screen writing format looked like. Umm, you know, but most of your teachers at USC were like, don’t become screenwriters because that’s what we want to do-

 

It’s so hard. Yeah.

 

–And it’s so hard. And, you know, if you love anything else and do that. That was their advice. Umm, so you- you had a sense of how daunting the mountain you had to climb was ahead. But you also, you know when you’re 22 to 26, you have that sort of naive, I’m going to climb Everest and I can do it without oxygen or ropes. And here we go, which you need. And it’s important to have that. And if we knew better, looking back, you know, in the 10 year climb, it took us to get to the top of Everest uhh, and the frostbite fingers that we have as a result. Like, we probably wouldn’t have done it. But, you know, it’s good to have that.

 

How many years exactly, teaching and writing?

 

The first screenplay we sold was after four years of writing and we sold it, like we got the call. We just started an S.A.T. quiz and there was a summer course we were teaching at Punahou. And we gave the kids the quiz and then we got a phone call and it was Fox and Disney were both bidding on our first screenplay and we had to go out and close the deal in the 15 minutes they were taking this quiz and come back in feeling like very both excited and like we were maybe going to throw up-

 

-Panicked. Panicked.

 

–And then had to run the class as though nothing had happened and finish out the day.

 

After four years of working as teachers in Honolulu and writing screenplays eight to ten hours a day, Aaron and Jordan Kandell sold their first screenplay to a Hollywood studio. But that show was never produced and it would be another six years and several other un-produced screenplays before the Kandell twins finally saw their work on the big screen with the 2016 release of Disney’s Moana.

 

As anyone who’s done anything creative, countless rejection for years and years, thousands of no’s before someone says yes. And if you’re gonna take every no personally, it’s how- I don’t know how you move forward.

 

How many rejections did you receive?

 

So many.

 

A lot. It was so- It took four years to sell our first thing. We’re like we made it. And then it took another four years till we sold anything else. Umm, and it took ten till Moana, which was the first thing that actually got produced and made, umm, came onto the screen. And so all of that, that whole ten year journey uhh, was informative and challenging, umm, before you kind of figure out how to read the swells and- and steer the canoe. Umm, it took that long to figure that out.

 

Do you think that that period of discipline and- and without a lot of- uhh, a lot of inst- no instant gratification there right?

 

Yeah.

 

Do you think that helped you make it for the long term?

 

I think we would have honestly-

 

-Preferred getting instant gratification.

 

Yeah, I wouldn’t care. I would’ve loved-

 

And you can still do-

 

I would’ve loved the rocket launch straight into-

 

–I-

 

–the stratosphere.

 

Yeah. That would have been great. I think we would have done it anyway. I think we were succ- The success or financial success or any kind of recognition was never our motivation. Uhh, getting it is nice because it allows us to continue to do what we loved and not have to second guess and question how are we going to feed our families? Umm, because we are now getting paid to do what we always loved and were doing since second or third grade. Umm, but we would have done it anyway. For Moana we felt uhh, as fortunate to be called to it because it was not our idea. It was a project that existed for years, three years before we got the call to come and be a part of it.

 

Were you- Were you there to rescue it, to do trouble fixing?

 

Yes. So they had and it’s not just the- it’s typical of the Disney Pixar process, is that over the course of three to five years, usually four to five, they’ll put the movie together anywhere from eight to ten times internally before it’s shown to an audience, and-

 

All hand drawn.

 

-Hand drawn and all, you know, every- every three months. They’re basically rewriting, re scoring, rerecording, redrawing and editing up a version of the film, not as animated as you see. It’s sort of your old school sketch, flip book animation where Mickey’s hand will move like this as you put the pages, but a whole rough cut of the movie. And so they’ve done that for three years and the story had lost its way. And so they needed to find new writers to help them steer a course towards what the story was. And they had a lot of the tent poles- we’ll call ’em- of the story. They had the girl named Moana. They knew that she lived on Motu Nui. They had all the characters kind of drawn and animated. Umm, so we knew that cast. Uhh, she was going to meet Maui. She was going to sail out and try to restore- Spoiler alert- Teka, Teka into Tefiti. But they didn’t know why she wanted to leave. They didn’t know why Tefiti had become Teka, and what would turn her back? They didn’t know what the relationship with Moana would- and Maui would be or where she would find him or what they were sailing out to do. All of that was up in the air. And so we had to come in and help create all the story to connect those dots.

 

Isn’t it interesting the storyline got lost along the way?

 

Mhmm.

 

Yeah.

 

After all that technical work and artistic work?

 

Well, a lot of animation is that same- They’re all amazing artists, like the best artists you’ve seen. You’ll be sitting talking story like this and they’ll be drawing a caricature of you and showing it to you or you’ll be talking about we’ll say, well, what if they encounter these little coconut pirates? We’ll call them the Kakamora and they’ll be like, well, will they look like this? We’re like, uhh maybe a..

 

Wow.

 

-And they’ll, more like this? Yes. And they’ll just be tossing photos behind them. They’ll be just sheets of paper-

 

Drawing. Drawing.

 

–and drawing. And throwing, which is amazing because we can’t draw. So for us. That was like magic of Disney come true before our eyes. Uhh, but-

 

-But yeah it’s [INDISTINCT]-

 

–they start- they start with the visuals because they’re all artists. So they get really excited about visual ideas. And then it’s trying to find… We almost had to come in and be the story way finders and the navigators of the story to connect what these visual motifs and ideas could be through the character work, through the thematics and through the values of the experiences that we had growing up on the islands.

 

And this wasn’t a Hawaiian movie.

 

No.

 

It’s Polynesian.

 

[Both]Yeah.

 

But you really had a role to play in terms of making it authentic and not putting in the wicky, wacky cellophane hula skirts and- and language.

 

We tried. Umm, yeah. Uhh, we came in hoping to- There were characters that existed in earlier versions that we will not mention uhh, that were culturally insensitive, if not offensive, that we- we threw out. We said, you- you can’t do this for- for these specific reasons. Umm, and we then tried to bring in kupuna and advisers like Nainoa Thompson to make the way finding elements as accurate as possible uhh, and to speak towards some of the cultural values we just grew up with that might drive Moana through her journey and in her interactions with Maui. And so, yeah, we played that small part as- as we weren’t the only ones. They had uhh, a board, an oceanic adviser trust from all different island cultures of professors and performers who helped advise. But we did come in as-

 

-We banged the cultural-

 

–story tellers, yes.

 

We banged the cultural drums very loudly.

 

Do you think in words or pictures when you’re a screenwriter?

 

That’s a-

 

–That’s a really good question. Uhh, both. I mean, I think-

 

-It starts with pictures.

 

It starts with pictures-

 

We have to see the movie in our head in order to put it on the page. And then basically the process of writing for us-

 

–Is recording. It’s almost, you have to visual- you almost have to sit in the audience. You have to direct the movie and then you have to be able to edit it, and watch it. And once you can see a whole sequence or a scene, then you’re just essentially reporting what you’re seeing. But you have to go through that process-

 

So you have a story that you-

 

-Then you have to visualize it.

 

–But the pictures have to- you have to lead with pictures.

 

Yeah. I mean, it’s such a- we’re such uhh, visual creatures as humans. And the world has become so much more, like visual focus. There’s so much media.

 

You know, you said you’re collaborative. I assume that each of you has a role. Do your roles remain constant in terms of putting together a screenplay?

 

Uhh, it’s pretty fluid. Yin Yang, We have different strengths. I’d say as writers and that depends on the day. Sometimes one of us is stronger at one thing than the other.

 

And you both recognize that that day one is stronger than the other at something?

 

[Both]Yeah.

 

Okay.

 

Yeah.

 

Yeah.

 

And in general, we have different strengths uhh, and- and weaknesses. I think Aaron is stronger with character and dialog and getting into kind of the core of how somebody expresses themself in a unique, interesting, believable… Just getting at who those characters are and what they want. And my strength is sort of seeing the bigger picture of a story and structuring out what’s going to happen and how we get there. And then writing-

 

-He’s more of the architect. I’m more the interior designer.

 

Uhh, sorry, everyone who’s not a twin. But it helps us be objective-

 

-Right.

 

Because we’re constantly questioning each other’s work, uhh, storytelling choices, quality of what we were putting out and just saying, can we make it better. We’re poking at it.

 

And why are we doing this-

 

-That’s right.

 

–And what do we want to get out of it?

 

And if you’re by yourself, it would help to find somebody who can serve that role.

 

We’ll break out a whole story. We’ll sit and we’ll talk or we’ll go hiking through the forest and just talk and talk and talk and talk and figure out how we both see what the grand vision of it is. And then it’ll usually be architecting it out, which he’s very good at in terms of breaking an outline and detail. And then I’ll come in and be, well, let’s make this is kind of a cliché. Let’s make this more original or fresh or have somebody say something in a way you wouldn’t think. And so and then it becomes sort of breaking out and tackling sequences or scenes on the page.

 

Aaron and Jordan Kandell remain close in their everyday lives. If they aren’t working on their next screenplay together, they’re together surfing, hiking, watching a movie. We’re spending time with their extended family.

 

It works. I mean, you both are married. Each of you has a child.

 

Yeah.

 

And then how do you- and you live next door to each other?

 

Yes.

 

Next door.

 

Very close, walking distance of-

 

-Like-

 

-back back fence kind of thing?

 

Yes.

 

Back fence.

 

Share. Share the same boundary line.

 

Okay.

 

Yeah.

 

So how does it work? I mean, because you’re working together every day. And even if you weren’t working, you’d be seeing each other every day.

 

Yeah. We’re together almost all the time.

 

Yeah.

 

All day. We’re usually together most of the day working, writing, meetings. Umm, and then at night we’ll either all go to his house or he’ll come to my house with his family to have dinner. We kind of trade back and forth. We trade taking the kids to school and picking them up.

 

They go to the same schools?

 

They don’t yet because one, his is-

 

-Younger.

 

–too young, umm, but hopefully they will. Umm, and they very much are like sibling-cousins, we call them. They’re so close.

 

And I’ve heard that the children call each of you uncle daddy.

 

Yes.

 

Daddy. And then Uncle Daddy.

 

Yeah.

 

That’s right.

 

That’s funny.

 

Yeah.

 

So what happens when a spouse wants to do something different than what you two want to do?

 

They usually win.

 

They win.

 

Oh they win?

 

Yeah.

 

Oh, yeah.

 

Yeah.

 

You defer.

 

Yes, definitely.

 

Yeah.

 

Yeah. Because we’re together so often-

 

-Yeah.

 

-that it’s only fair.

 

Yeah.

 

So you figured-

 

-Well-

 

–a way to make all of it.

 

Yeah.

 

They’ll win the battle because the war, they already, know is lost.

 

Kind of seems too good to be true that you know, the wives would be happy and- and get this relationship and then- and then you two would get along so well.

 

That we would get along so well?

 

Yeah.

 

Yeah-

 

–Yeah, I mean, I- I don’t know. I would attribute that to nature and nurture. I think-

 

Yeah, ’cause our parents were very uhh, they created an environment. We never really fought with our older brother. He was always super supportive and loving. And we just kind of-

 

-Closed it with him. Yup.

 

They just created a dynamic where it was you were all, y’know, on the same canoe paddling together.

 

As of this conversation in the spring of 2019, Aaron and Jordan Kandell are involved in a multitude of screenplays and film projects, including their dream project called The Golden Record, The True Story of Carl Sagan and his Creation of a Record of Life on Earth for 1976 NASA’s Space Mission. Mahalo to Aaron and Jordan Kandall of Mānoa, O’ahu. And thank you for joining us for this edition of LONG STORY SHORT on PBS Hawai’i. I’m Leslie Wilcox, Aloha Nui.

 

Our mom has just followed her curiosity wherever it’s led her for her entire life. So she’s been really like-

 

The jack of all trades.

 

Yeah.

 

She’s had- she had a different career every three to five years most of our lives.

 

And would you put that under the fearless category?

 

Oh, for sure. Yeah.

 

I think the two things we learned from our mom more than anything, is she always said growing up, the only thing you can control in your life is your attitude. Just everything else is a variable that you can’t predict or control.

 

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

 

[END]

 

 

 

Jordan and Aaron Kandell
Hollywood Screenwriters in Honolulu

Cover story by Liberty Peralta, PBS Hawaiʻi

 

The Kandell brothers on the set of Adrift. Photo courtesy of Aaron and Jordan Kandell

 

Twins share DNA, but Jordan and Aaron Kandell share a whole lot more.

 

“We’ve always been interested in the same everything: same sports, same books, same careers,” says Aaron. “Anything that’s not sharing and having it, like us going to a movie theater by ourselves to watch a movie, feels weird.”

 

The Kandell brothers as young children. Photo courtesy of Aaron and Jordan KandellTo date, the brothers have never confirmed whether they are fraternal or identical twins, but they suspect they’re the latter. Their parents, the brothers say, were only expecting one child.

 

“The doctors said, ‘Wait, we have another pair of feet in here,’” Aaron says.

 

Jordan and Aaron now have their own young families, and live next door to each other in the Mānoa neighborhood in Honolulu. Despite so many shared interests and so much time spent together, the brothers insist that they never tire of each other’s company.

Jordan and Aaron Kandell on LONG STORY SHORT WITH LESLIE WILCOX premiering Tuesday, December 10 at 7:30 pm“It was always supportive; we always liked to do the same things,” Jordan says. “It was kind of better together. There was never any other version of it.”

 

LONG STORY SHORT WITH LESLIE WILCOX: Jordan and Aaron Kandell

 

Among everything else they share in their lives: Hollywood screenwriting credits. The ʻIolani School grads co-penned the 2018 drama Adrift, based on a true story about a couple stranded in the middle of the Pacific after a hurricane.

 

Disney’s Moana, released in 2016, was co-written by the Kandell brothersThey were also on the screenwriting team behind the 2016 Disney animated film Moana. The project existed for three years before the brothers came into the picture. They say that by then, the story had lost its way. The brothers helped flesh out the storyline and characters, and connect major plot points.

 

Disney’s Moana, released in 2016, was co-written by the Kandell brothers

 

Jordan and Aaron also got rid of previously written characters that Jordan says were “culturally insensitive.” They brought in cultural advisors to provide guidance on the film’s wayfinding elements, and “the cultural values we just grew up with that might drive Moana through her journey,” Jordan says.

 

The Kandells’ journey toward their dream career as screenwriters was not an easy one. “It took four years to sell our first [script],” Aaron says. “It took 10 [years] till Moana. That whole 10-year journey was informative and challenging, before you kind of figure out how to read the swells and steer the canoe.”

 

Says Jordan: “If you’re gonna take every ‘no’ personally, I don’t know how you move forward.”

 

The brothers credit their outlook on life to their mother, Sherri, whose curiosity and fearlessness they admire. Aaron says she would always tell them this when they were kids: “The only thing you can control in your life is your attitude. Everything else is a variable that you can’t predict or control.”

 

 

 

Data Mining the Deceased

 

The family genealogy business is booming, but there is a murkier side behind this growing industry. DATA MINING OF THE DECEASED investigates one of the largest data-mining operations that is being driven by religious, technological and business interests.

 

 

 

GET CAUGHT READING
More Islanders Choose Hawaiʻi Books

 

CEO Message

 

Leslie Wilcox, PBS Hawai‘i President and CEOWhat would you pick if you were asked to share any passage you want from a book or story or poem or other written word?

 

“Anything I want?” is one person’s stricken reaction. “Do you know how difficult that is to narrow down?”

 

Well, thank goodness there’s so much richness in literature and life from which to choose!

 

In PBS Hawaiʻi’s new video read-aloud initiative GET CAUGHT READING, with community partners Farmers Insurance and the Hawaii State Public Library System, it’s lovely to listen to William Butler Yeats’ love poem “When You Are Old,” and it’s a kick to hear Dr. Seuss’ witty exuberance.

 

However, without any discussion or plan, there seems to be a collective theme developing, in which individuals are choosing Hawaiʻi authors, writing about Hawaiʻi. You can tell as they read in these videos, that they’ve settled on excerpts that truly mean something to them. There’s a lot of heart going into this.

 

Nanette Napoleon paused to regain her composure.In fact, one of our citizen readers, Nanette Napoleon , brought her hand to her heart and abruptly stopped reading: “Oh, I’m sorry,” she told our TV studio crew. “I get emotional.” Nanette was reading from an 1893 letter written by Hawai‘i’s last monarch on her last day as monarch (and quoted in Helena G. Allen’s book). Facing a U.S. overthrow of her government, Queen Liliʻuokalani wrote that she was yielding her authority “to avoid any collision of armed forces and perhaps loss of life.”

Left: Nanette Napoleon paused to regain her composure.

Kevin Chang chose a quote in Pidgin English.From the Queen’s English, we go to Pidgin English – a quote from a Waikāne, Windward Oʻahu man in Mark Panek’s book, Big Happiness: The Life and Death of a Modern Hawaiian Warrior. Kahaluʻu nonprofit leader Kevin Chang reads aloud, in part: “Still get mana. Because t’ings can still grow up here. The watah still flowing.”

Right: Kevin Chang chose a quote in Pidgin English.

 

 

Kūhaʻo Zane invoked an ancestral migration to a new land.

Kūhaʻo Zane invoked an ancestral migration to a new land.

 

A brand-new PBS Hawaiʻi Board Member, Hilo’s Kūha‘o Zane, quoted from Ka Honua Ola, by his illustrious auntie, Puanani Kanakaʻole Kanahele, in both English and Hawaiian. We hear of an ancestral canoe journey that came ashore at Nihoa, the island of sheer cliffs 120 miles northwest of Niʻihau.

 

Kamani Kualaʻau conveyed the fisherman’s code.

Kamani Kualaʻau, another PBS Hawaiʻi Board Member, found inspiration in Change We Must, authored by singer Emma Veary’s late mother, Nana Veary. There’s a story about Nana’s mother in shallow coastal waters, catching fish by lifting up her muʻumuʻu like a net. She followed the fisherman’s code: Take only what you need, not what you want.

Left: Kamani Kualaʻau conveyed the fisherman’s code.

These and other video read-alouds appear between TV programs on PBS Hawaiʻi and you can also view the videos on demand at www.pbshawaii.org. And yes, we welcome volunteers!

 

Check out director/editor Todd Fink’s captivating animation of the words. Also, watch for GET CAUGHT READING to visit a public library near you.

 

Aloha Nui,

Leslie signature

 


 

ANTIQUES ROADSHOW
Vintage Madison

ANTIQUES ROADSHOW Vintage Madison

 

Journey back 15 years and learn how fantastic finds from Madison, WI, have fared in today’s market. Highlights include an 1875 Norwegian Hardanger fiddle, Winsor McCay comic art and an Eanger Irving Couse oil. See which item doubled in value to $80,000-$100,000.

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Lanai Tabura

LONG STORY SHORT WITH LESLIE WILCOX: Lanai Tabura

 

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

 

This program will be rebroadcast on Sunday, May 12, at 4:00 pm and 11:30 pm.

 
Program

 

Lanai Tabura Audio

 

Download the Transcript

 

Transcript

 

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

 

So, you didn’t go look it up.

 

No.

 

You had it in your head.

 

Yeah.

 

And your heart.

 

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

 

M-hm.

 

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

 

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

 

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

 

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

 

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

 

And how old were your brothers?

 

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

 

Exactly.

 

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

 

But they also knew your dad had left.

 

Yes.

 

They knew everything.

 

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

 

Did you ever reconnect with him?

 

Never.

 

You ever want to?

 

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

 

And bitterness really poisons you, too.

 

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

 

Why?

 

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

 

Okay; early twenties.

 

Yeah.

 

Got it.

 

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

 

Did he try to reach your mother?

 

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

 

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

 

Yeah.

 

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

 

Big time.

 

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

 

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

 

Did you learn well that way?

 

Lots.

 

Was that a good way for you?

 

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

 

Why doesn’t he just say what he means?

 

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

 

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

 

Yeah; that is a great formative lesson.

 

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

 

And then, how did you learn to cook it?

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Which is the hardest part.

 

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

 

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

 

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

 

You were all-state.

 

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

 

What’s a management scholarship?

 

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

 

Oh, I see.

 

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

 

She saw your business side.

 

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

 

Why did you drop out?

 

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

 

Oh …

 

Yeah.

 

There was competition between the two.

 

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

 

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

 

Yes.

 

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

 

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

 

And it paid you, too.

 

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

 

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

 

No.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Tantalizing, one hundred percent.

 

Yeah.

 

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

 

And you’ve made it pay off for you.

 

It’s going to pay off.

 

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

 

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

 

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

 

Oh …

 

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

 

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

 

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

 

But you are gonna save money; right?

 

I’m gonna; yeah.  I started.

 

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

 

Yeah.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Then it’s a genetic connection.

 

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

 

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

 

Yes.

 

A Hawaiian on a quest.

 

Yes; totally.

 

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

 

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

 

I can see how you do it.

 

Yeah.

 

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

 

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

 

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

 

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

 

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

 

 

 

INSIGHTS ON PBS HAWAI‘I
OHA At-Large

 

INSIGHTS features candidates for the At-Large seats for the Office of Hawaiian Affairs. This is a statewide race in which six people are vying for three seats. All three incumbents and three challengers advanced through the Primary Election in August to face off in next month’s general election.

 

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