Jacqueline Rush Lee layers new meaning using old books.
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In 2013, standing in her backyard at the misty base of the Koâolau mountain range, Jacqueline Rush Lee lowered a kiln-fired sculpture of screwed-together telephone books into the empty hollow of a tree. The mass of heat-warped pages sank into the gap of the tree stump like a perfectly fashioned puzzle piece.
A year later, Lee retrieved the whorl of deconstructed books from the tree. The sculpture, now black with mold, had stiffened into a new state of matter. Much like petrified wood, the pages Lee had so intricately fused and fashioned into coils and ribbonlike waves had become hard and sturdy. She rapped a finger against her cylindrical work, delighting in the hollow twang that sounded.
Ever the experimentalist, Lee was full of glee. Her probe to discover how insects and the elements might transform a sculpture of books was finally complete. â[That final moment] was like Christmas,â says Lee, 2013幎ããžã£ã¯ãªã³ã»ã©ãã·ã¥ã»ãªãŒããã¯é§ã«å
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Jacqueline Rush Lee is a pioneer of the altered book medium, transforming old pages into sculptural works of art imbued with new meaning.
Jacqueline Rush Lee, Silenda (Black Sea Book), 2015, transformation of Ovidâs The Poems of Exile: Tristia and the Black Sea Letters, manipulated book, inks, and graphite. Image by Paul Kodama.
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who hails from Northern Ireland. âHere I had this totally transformed object. You could tap it, and it would knock at you. It almost became like the tree again, like these books were returning to their earlier form. I did some research, and apparently, this has to do with the termites encasing it and spitting on it.â In 2016, Lee replicated her experiment on the grounds of the University of Hawaiâi at MÄnoa. Recording the effects that the passage of time have had on the books, she will retrieve the sculptures from the trees in September 2017.
A pioneer of the altered book medium, Leeâs art is expressive, abstract, and sometimes violent. Though her work includes books sanded into the comely shape of a flower, many of her pieces evoke more macabre subjects, such as open wounds, fossils, å€è³ªããŠããŠå©ããšé¿ããããªé³ãããŸããããŸãã§æ¬ãæã®åœ¢ã«æ» ãããšããŠãããã®ããã«ãããã¯ãµããã³æšã®ããã«ãªã£ãŠããã ã§ããç§ã調ã¹ããšãããåŸæ¶²ã§åãåºããŠå·£ãäœãã·ãã¢ãªãšé¢ä¿ ãããããã§ããã2016幎ã圌女ã¯ãã¯ã€å€§åŠããã¢æ ¡ã®ãã£ã³ãã¹ ã§ãã®å®éšãåã³è¡ãããšã«ãããæéã®çµéãæ¬ã«åãŒã圱é¿ã èšé²ããããã ã2017幎9æã圌女ã¯ãã®äœåãæšã®äžããåå ããããšã«ãªã£ãŠããã
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Whorl (Elemental Series), 2014, transformed book sculpture. Image by Brad Goda.
Cube, 2001, soaked, dried, scraped, manipulated book components, in the Allan Chasanoff Book Under Pressure Collection, Yale. Image by Paul Kodama.
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and even skeletal remains. Others bring to mind a sushi roll or red molten lava. The concept of book art might seem quaint, but Lee boasts a body of work that is fiercely aberrant and modern. Almost none of her work appears book-like.
âRight now Iâm making something with The Art of War, and itâs very violent,â says Lee, who was spurred to create this work after a blog described a piece she had made, The First Cutâwhich employed Ovidâs Metamorphoses and resembled an anatomical slice of a womanâs ovaryâas âlovely.â Lee recalls the moment, explaining, âThat made me very angry because my work is far from lovely. ⊠Thereâs this whole gendered response to my work that I find infuriating. I kind of want to start metaphorically smashing up the china a little bit this year in response to that.â
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Detail of Strata, 2016, transformed book, found and applied inks. Photo by Jacqueline Rush Lee.
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Lee, who reveres books and the power in the words they contain, explains that her attraction to artmaking with volumes that range from Mao Tsetungâs Little Red Book to the Bible is rooted in the idea that the book, as a medium, offers opportunity for layered storytelling. Of course, every book contains the story conceived by its author, but embedded within its pages are also the stories of its previous owners, fascinating tales and origins that can be deciphered in the marginalia.
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âI use old books because I really like that the books have belonged to someone else,â Lee says. âItâs sort of like their mana, or energy, is in the book, and itâs in my work. You have the author who writes the content of the book, and then you have this other very deeply personal content in the form of notes and æ¯æ²¢æ±ã®ãæ¯äž»åžèªé²ãããèæžãŸã§æ§ã
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Paintures Series, 2007, acrylic and oil paint over armatures, in the collection of Elizabeth Rice Grossman. Image by Paul Kodama.
âI use old books because I really like that the books have belonged to someone else. Itâs sort of like their mana, or energy, is in the book, and itâs in my work.â
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Leeâs attraction to books is rooted in the idea that the book, as a medium, offers an opportunity for layered storytelling.
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sketches in the margins, or photographs hidden or saved in the pages from unknown people who maybe were given these books and discarded them. And then you have my work, which is informed by all of that content and history.â
Just as a dressmaker deconstructs a gown in order to understand its design, Lee bends, hammers, paints, burns, and submerges her books, transforming them into elemental building blocks that fit together to tell a new visual story.
âAn old book is this amazing, poetic object that you can use unusual artistic processes to completely recreate,â she says. âAnd in doing that, youâre left with something that tells a whole different narrative.â
For more information, visit jacquelinerushlee.com.
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TEXT BY KELLI MILLER
IMAGES BY
JOHN HOOK & COURTESY OF DEUXMERS
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BETWEEN TWO SEAS
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In an ever-evolving digital media landscape, independent book publisher Deuxmers remains relevant by staying small.
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Pluck each word off with your teeth like a plump sweet grape see how it feels in your mouth let it burst and flood your lips your tongue let its dark fragrant juice run down your chin stain your shirt your heart.
âhow to eat a poem,â michael sanders, american crabgrass: two seas volume i
The image poet Michael Sanders paints is vivid. I can taste the fruit, feel the wetness of juice running down my chinâmy pulse beats uptempo with excitement. I imagine Turkish photographer and publisher Omer Kursat felt similarly the first time he read Sandersâ âHow to Eat a Poem.â It was writers like Sanders, Elsha Bohnert, and Peter Shaindlin who inspired Kursat to found his WaimÄnalo-based publishing company, Deuxmers Publishing, in 2011. A software developer by trade, Kursat dove into the book business idealistically, as a personal artistic endeavor and a way to preserve individual voices, including his own.
The first book he published under Deuxmers (French for âtwo seasâ) sprung out of a photography exhibition he had at Thirtyninehotel, a den of creativity in Honoluluâs Chinatown district in the early 2000s. This show, a collection titled Over the Pali, 2:00 AM, No Pork, featured six candid photographs he had taken in Chinatown between 2006 and 2011. Next was Peggy & The Roadrunners, a collection of found images of the late Peggy Ferris, one of the first female journalists to arrive in Honolulu after World War II, followed by Young Turks, which features portraits
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Omer Kursat dove into the book business idealistically, as a personal artistic endeavor and a way to preserve individual voices.
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Young Turks features portraits Kursat took of friends in the Turkish cities of Ankara and Izmir in the mid-1970s.
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Kursat took of friends in the Turkish cities of Ankara and Izmir in the mid-1970s.
Kursatâs photography and publishing pursuits are the natural results of being the son of a journalist. Ege Ekspres (âAegean Expressâ in English) was the name of Kursatâs fatherâs newspaper, which he started in a dangerous time. Originally from Crete, the Kursat family was forced to move to Turkey in the early 1920s as a result of the population exchange between Greece and Turkey during the Turkish War of Independence. The partitioning of the Ottoman Empire forced emigration between the two evolving nations via staggering violence. âMy father was a very free-thinking, liberal person. It even landed him in jail for six months for writing a column that criticized the political party that was in power at the time,â Kursat reflects. âHe is the reason I am the way I am. His influence shaped my perspective in life.â
Kursatâs father passed away in 1988, and it has been years since Kursat has returned to his hometown
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Halekulani Living 34 ARTS
Deuxmers has published works of fiction, poetry, and photography and is set to release a second volume of found photographs taken by Peggy Ferris, one of the first female journalists to arrive in Honolulu after World War II.
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35
of Izmir, yet his fatherâs influence continues to fuel his interest in collaborating with authors and producing books. His relationships and chosen works have all been a result of coincidence encounters. âI really do not want to know or analyze why I do what I doâitâs sort of giving my consciousness a secondary role in awareness of the decisions that I make,â Kursat explains. âWith this in mind, I have no explicit criteria in selecting what to publish, most of it is due to coincidences that come about in an organic manner in the course of social interactions. ⊠Obviously, I have to like the content.â
Kursatâs recent releases include The Evil That Men Do , a collection of contemporary fairy tales for adults by Michael Sanders, and The Swans of Pergusa , a reinterpretation by Peter Shaindlin of Ted Hughesâ Tales From Ovid . Deuxmersâ works in progress include a second volume of Peggy Ferris photographs, and a collaboration with Shaindlin to translate a collection of poems by The Second New, an avant-garde Turkish literature collective from the 1950s. Shaindlin, who is Halekulaniâs chief operating officer, has grown to be one of Deuxmersâ premier literary talents, authoring three works of poetry and fiction. âPeterâs immense knowledge of literature is amazing,â Kursat says. âHe can quote from Proust, or John Clare, or Baudelaireâin French!âon a whim, so his own work becomes so important to me, knowing that it carries with it the knowledge of hundreds of years of literature, compounded by contemporary works.â
Even with the rise of e-books and blogs, Deuxmers has managed to remain relevant and in demand. For Kursat, its driving force is that wonderful human experience of browsing stacks of books at a college or city library for the perfect read. âI think poetry and books were meant to trigger thought processes,â he says, âfor us to reflect on our understanding and comprehension of the world.â
For more information, visit deuxmers.com.
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Halekulani Living 36 ARTS
âI think poetry and books were meant to trigger thought processes,â Kursat says, âfor us to reflect on our understanding and comprehension of the world.â
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37
Whispered
Sotto voce
Good morning love eyes eiderdowned and skin still night-scented. Linger while I watch the coda of your shallow breath, feathered its melody as singular to me as your fingerprint.
Linger.
The world soon enough will be yours like a shopkeeper opening his store.
Proserpina
Torched isle
Mouth of lava
Scorched heavens
Skin of Sicily
Dry and shattered â Turned to dust
Typlon rising
Rains upon the warming seas
Catanians, Siracusans
Washed away; Pluto vanquished
Swans of Pergusa
â They knew only spring
from the swans of pergusa by peter shaindlin
38 ARTS
from american crabgrass by michael sanders
KAPA BY ROEN
HUFFORD
CULTURE
CULTURE
BY
TEXT
RAE SOJOT
IMAGES BY
JOHN HOOK & COURTESY OF ADRIENNE
LIVA SWEENEY
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Don Ho, center, and his backing group, The Aliis, comprised of Joe Mundo, Benny Chong, Manny Lagodlagod, Rudy Aquino, and Al Akana, in 1966.
Image courtesy of Adrienne Liva Sweeney.
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A TALE OF TWO DONS
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How late musician Don Ho and contemporary musical group Don Tiki have created and perpetuated the sounds of the islands.
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PART I, DON HO
Among the many glittering constellations that make up Hawaiâiâs musical legacy, one star shines the brightest.
In 1965, San Francisco radio host Jim Lang played a soundtrack from a Hawaiian singer relatively unknown beyond Hawaiâiâs shores. As Don Hoâs voice crooned over the airwaves, the stationâs switchboards lit up in a flurry of flashing lights. Calls flooded in. âWho was that singer?â listeners wanted to know. With this broadcast, Don Hoâs star blazed its bright trail across the Pacific, heralding the beginnings of an incredible 50-year musical career in the islands and worldwide.
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Halekulani Living 42
Born in 1930, Donald Tai Loy Ho was the second of six children in a Hawaiian-Chinese-Portuguese family. Growing up on Oâahuâs windward side, Ho was proud of his country roots. Upon graduating from Kamehameha Schools, Ho headed to Springfield College on a football scholarship, returning a year later to complete his studies at University of Hawaiâi at MÄnoa and to marry his high school sweetheart, Melva May. Soon after, he enlisted in the military and served as an Air Force pilot, flying jets in Texas and California. However, Ho was an island boy at heart, and Hawaiâi ultimately called its son home.
Hoâs nascent path into the entertainment industry began at his parentsâ small restaurant and bar, Honeyâs. His father, who hoped to rejuvenate the business, encouraged the young Ho to form a makeshift band with friends. Magic ensued. Ho soon found himself the charismatic fulcrum of a lively, kanikapila brand of entertainment. Crowds were regaled with his stories and adored his ainât-nobig-thing attitude. Audience members were cajoled into letting loose, singing, and dancing, often on the stage itself. Word spread of the rollicking good times had at the little country bar, and people streamed in from across the island to take part in the revelry. In 1964, Duke Kahanamoku, Hawaiâiâs Ambassador of Aloha, asked Ho to play at his namesake supper club. Kahanamoku and Ho had fostered a warm friendship since their beach-boy days, and Ho considered the invitation a great honor. Packing up their KÄneâohe show, Ho and his band headed for the big lights: Oâahuâs nightclub hotspot, WaikÄ«kÄ«.
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It was the early 1960s, and WaikÄ«kÄ« was welcoming a robust influx of tourists eager to experience all things Polynesia. Burgeoning air travel and widespread coverage of Hawaiâiâs recent statehood secured Oâahuâs status as a dream destination. By day, WaikÄ«kÄ« offered postcard-perfect swaying palms and white sand beaches. By night, it glittered with a bevy of lounges brimming with musical acts. Hoâs âhapa haoleâ music struck a golden chord with WaikÄ«kÄ« crowdsâits blend of Hawaiian and English verse, accompanied by Hawaiian instrumentation like âukulele and steel guitar, served as a tropical soundtrack for the islandâs vibrant and diverse culture. Ho made Hawaiâi accessible to everyone. âDon was proud to be Hawaiian,â says Adrienne Liva Sweeney, Hoâs personal secretary from 1968 to 1975 and a trustee of the Don Ho Trust. âHe incorporated Hawaiiana into his shows and ã1930幎ããã¯ã€ã¢ã³ãäžåœããã«ãã¬ã«ç³»äžå®¶ã®6人å
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Halekulani Living 44 CULTURE
would have people singing Hawaiian songs, teaching the words phonetically.â
But it was Hoâs penchant for people that was his lodestar. With his insouciant charm and ease of rapport, Ho calibrated his shows with the same loose approach he had cultivated at Honeyâs. Rather than a formal set of musical numbers, the show flowed unscriptedâattendees would scribble song requests and messages, sending them to the stage via cocktail napkins. A master at connecting with the audience, Ho knew how to tease, humor, and inspire his guests. From his seat behind his Hammond chord organ, with a Chivas Regal scotch in hand, heâd serenade grandmothers, recognize military servicemen, and, a perennial favorite of the crowd, slyly promise honeymooners to end the show on time so they could return to their hotel rooms.
Just as he did at Honeyâs, Ho called upon audience members to join him onstage in song and dance, and his gift for comic enterprise could work the crowd into fits of laughter. Big wave surf pioneer Peter Cole fondly recalls his first brush with the inimitable entertainer. At the inaugural Duke Kahanamoku International Surfing Championship held at Sunset Beach, Kahanamoku invited Cole and his pals to join him in WaikÄ«kÄ« later that evening for Hoâs show. There, Ho beckoned the tall, lanky surfer to the front with a wily grin. âCan you imagine?â Cole says, chuckling at the memory. âHe had us up there, a bunch of North Shore surfers, trying to do the hula on stage.â At Hoâs shows, such larks were expected: You didnât just watch the show, you became part of it.
The Don Ho Show was a wildly popular WaikÄ«kÄ« feature, its success marked by a consistently packed 300-seat house, three shows a night, seven nights a week. âNo two shows were ever the same,â says Shep Gordon, a talent manager for many of the last centuryâs well-known musicians, who estimates that he and his friends went to the show dozens of times. âDon was the consummate performer.â Over the next five decades, the show flourished, and Ho cemented his position as WaikÄ«kÄ«âs top entertainer.
The musician went on to achieve international acclaim (his 1967 hit song âTiny Bubblesâ became an eponymous anthem) through guest appearances on television, his own on-air variety show, records, and engagements at large mainland venues. After each performance, he greeted his fans, signed autographs, and listened to their stories. âDonâs mission every
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Halekulani Living 46 CULTURE
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47
Don Hoâs wildly popular namesake show was a must-see for any visitor to the islands, including Frank Sinatraâs eldest daughter, Nancy, shown here in 1972. Image courtesy of Adrienne Liva Sweeney.
âNo two shows were ever the same,â says Shep Gordon, a talent manager for many of the last centuryâs well-known musicians. âDon was the consummate performer.â
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night was to make people happy, feel good, and to create memories theyâd never forget,â says Haumea Ho, the showâs longtime executive producer and dance soloist, whom Ho married in 2006 (Melva May passed away in 1999). âEveryone would leave the show feeling like he was their best friend. ⊠Don was their Hawaiâi brother.â Ho remained a dedicated performer, continuing his trademark show at various WaikÄ«kÄ« venues up until two days before his death in 2007.
In the decade since his passing, Hoâs legacy continues to shine bright, stretching beyond music and into the realm of something deeper and more pure: a celebration of human connection. âEveryone who met him has a âDon Hoâ story,â says Sweeney of Hoâs love for people. This year, the Don Ho Trust gifted nearly 75 boxes of photos, recordings, and film footage to the University of Hawaiâi West Oâahu to be preserved and digitized. Future generations will now have access to a man who reached millions through his extraordinary generosity of spirit.
For those who dreamed of Hawaiâi, or visited the islands and attended his show, Ho made paradise personal. âWhen you think of Hawaiâi, you think of Diamond Head, you think of Pearl Harbor,â Haumea says, then pauses. âAnd you think of Don Ho.â
PART II, DON TIKI
This exotica music group is like the sound it createsâ strange and sensuous, with a zany sense of self-awareness.
Lloyd Kandellâs baptism in exoticaâs eternal font took place when he was 10 years old. It was the early â60s, and tiki fever was sweeping the United States, enticing middle-class Americans to let their hair down and âgo native.â Embracing the craze, Kandellâs parents paid homage the way most of its disciples did: by throwing backyard tiki parties. The faux tropical fetes made for an intoxicating mise en scene. Men eschewed starched shirts for their best Waltah Clarke alohawear, and women slipped into colorful mini muâumuâu. Donning fake flower lei, guests passed trays of rumakiâsuburbiaâs attempt at Polynesian fareâand sipped tropical libations adorned with paper umbrellas. All the while, a background of the jungle jazzy sounds of musician Martin Denny wafted through the air.
Nearly five decades later, the tiki torch still burns bright. Today, Kandell and Kit Ebersbach are the creative forces behind Don Tiki, a neo-exotica
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Halekulani Living 48 CULTURE
Lloyd Kandell and Kit Ebersbach, who moonlight as âFluid Floydâ and âPerry Comaâ respectively, are the creative forces behind Don Tiki, a neo-exotica music group summoning the mysterious sounds of the islands into the 21st century.
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49
music group summoning the mysterious sounds of the islands into the 21st century. With Kandell and Ebersbach at its core, Don Tiki consists of a wide assemblage of talents, such as bassist and vocalist Hae Jung, vocalists and dancers Sherry Shaoling and Violetta Beretta, and percussionist Lopaka Colon. (Lopaka is the son of Augie Colon, the percussionist and birdcall extraordinaire who played with Denny.) The groupâs signature live shows are found on stages both low and highbrow, with venues ranging from La Mariana and the Honolulu Symphony to Las Vegas showrooms, a Berlin music festival, and Walt Disney Concert Hall. With five albums produced, and a foray into the Japan market currently in the works, Don Tikiâs zany, subculture allure attracts an everchanging roster of guest musicians, vocalists, and dancers eager to join the Don Tiki tribe. âA cast of thousands,â Kandell quips.
Americaâs fascination with Polynesia first emerged after World War II, as servicemen returned from their South Seas outposts with heady tales of paradise found. It was the perfect antidote for a warweary nation, and Americans became besotted with escapist visions of a tropical Garden of Eden. Savvy proprietors like Don the Beachcomber and Trader Vic capitalized on this intrigue, debuting restaurants and lounges replete with carved tikis, shell lamps, and signature drinks. Soon, faux island motifs surfaced in everything from architecture and art to food and fashion. Exotica music became the consummate soundtrack and a barefoot ethos supplanted bobby sox, as Americans gleefully granted themselves permission to tap into their primal sides.
Though the tiki craze reached its zenith 50 years ago, it never quite disappeared. Its over-thetop aesthetic avoids extinction thanks to pockets of die-hard tikiphiles worldwide, while exotica musicâs amaranthine appeal sates curious music heads seeking fringe genres. Kandell, influenced by the trifecta of exotica greatsâMartin Denny, Les Baxter, and Arthur Lymanâmet the big kahuna himself, Denny, at a Steinway piano performance. The serendipitous encounter convinced Kandell, then 44, that a career in music, albeit begun late, could be a career nonetheless. After all, Denny had been in his 40s when âQuiet Villageâ became a hit in 1959. Meanwhile, Ebersbach was looking for something new to round out his musicianship, having already recorded, composed, and played music all
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ãã¹ã¿ãŒããªãããé³æ¥œã®ãã£ãªã¢ãè¿œæ±ããããšã«ãããšã ãã1959幎ã«ãéããªæ(Quiet Village)ãããããããé ã®ãããŒãã ããŸã40幎代ã ã£ãã®ã ãåãé ããã§ã«ã¬ã³ãŒãã£ã³ã°ãäœæ²ãæã
Halekulani Living 50 CULTURE
his life. His professionally trained ear appreciated exoticaâs sumptuous compositionâtribal percussion punctuating the resplendent tones of a vibraphone, sultry vocals backed by birdcalls. A particular favorite of Ebersbach was the sweet chrome undulations of the kyi waing, a Burmese gong circle he arranged to have smuggled to Hawaiâi (allegedly, of course). With Dennyâs blessing and mentorship, Don Tiki became a 21st century offering to the exotica gods of yore.
Kandell and Ebersbach conceived the group as a studio project, planning to merely produce good music and then dispense it. They werenât even certain who would listen. âWe never wanted to be a retro or tribute band, we were just genuinely inspired by the music,â Kandell says. âWe were two older guys, not interested in doing a tour or live show thing.â But exotica music, like an exotic animal, is best let loose. After the success of their first album, The Forbidden Sounds of Don Tiki , released in 1997, Don Tiki went live.
Pooling their day-job talents (Kandell runs an advertising agency and Ebersbach heads a music studio), the pair enlisted a 12-member corps of musicians and vocalists for the bandâs first gig in, of all places, Ohio. âWe had no idea what to expect,â says Kandell. As it turned out, the venue, the Kahiki, was a massive, canoe-shaped restaurant, a Polynesian palace of kitsch, and a veritable tiki mecca. Staged in front of a gigantic stone tiki with glowing red eyes and a roaring fireplace mouth, the music set commenced with a pre-taped welcome from Denny. Seated at the helm of his grand piano, Denny played the first notes of âQuiet Villageâ before Don Tiki joined in live. âIt was legendary,â says Kandell, marveling at the memory.
Buoyed by this debut, Kandell and Ebersbach (who moonlight as âFluid Floydâ and âPerry Comaâ respectively) maintained Don Tikiâs upward trajectory with small local gigs and a second album. Ebersbach recalls the first inkling of the bandâs burgeoning impact in 2001. While writing a track for Magic of Polynesia, a popular WaikÄ«kÄ« stage show, Ebersbach was approached by renowned choreographer Tunui Tully. Tully was intrigued by this new music he had come across. âDo you know Don Tiki?â he asked Ebersbach, who laughed before replying, âYouâre looking at him.â Tully became an integral part of the Don Tiki team, increasing the live showâs wow factor with dazzling displays of costumes and choreography.
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Halekulani Living 52 CULTURE
Exotica music became the consummate soundtrack of Hawaiâi, as Americans gleefully granted themselves permission to tap into their primal sides.
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âIt was unlike any Polynesian show,â says Alaana Seno, a professional dancer and veteran Don Tiki performer. âIt was euphoric.â
With an ever-increasing following of showgoersturned-converts, Don Tikiâs fanbase carries the tiki torch high into 2017. Cheeky self-awareness also helps the group skirt any cultural appropriation controversy. Kandell notes the very different tiki paradigms at play: one, the authentic tiki, or kiâi, the reverent god forms of Polynesian culture; and the other, Don Tikiâs tiki, the highly stylized mascots of exoticaâs glib pop culture. Recognizing the âartâ in artificial, Don Tiki then gleefully elevates it.
This is not to say that Don Tiki isnât blithe about critical perceptions. Moments before its debut at Hawaiian Hut 15 years ago, Kandell, Don Tikiâs congenial host, peeked out at the audience from behind the curtain, and panicked upon seeing esteemed cultural practitioner Manu Boyd among the crowd. Would Boyd condemn the show as yet another lewd perpetuation of Hawaiian stereotypesâthe hula maidens, grass huts, and tribal beats? When asked about that night, Boyd laughs. Obviously, the show was not an authentic portrayal of Polynesian culture, he explains. It was pure romanticism, fantastical stuff. âDon Tiki is what it is,â Boyd says. âJust a lot of fun.â
Fun indeed. More camp than kitsch, Don Tikiâs tongue-in-cheek manner is apparent even in its own name. When asked its origin, Kandell chuckles. Don Tiki is a play on Kon-Tiki, the 1947 Norwegian ocean raft expedition that attempted to prove that South Americans populated Polynesia. Explorer Thor Heyerdahlâs theory was decried by Polynesian scholars who pointed to Polynesian culturesâ highly sophisticated, star-based navigation system. âSo we decided to set the story straight,â Kandell says, deadpan. âIt wasnât the Kon-Tiki. It was Don Tiki, as in Don Ho, navigating via mai tais.â
Itâs not too hard to imagine the great Don Ho, fellow Hawaiâi entertainer, raising a toast to such a tale, with one minor correction: He would have navigated with a Chivas Regal, not a mai tai. Suck âem up, suck âem up!
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Halekulani Living 56 CULTURE
TEXT BY MATTHEW DEKNEEF
IMAGES BY ROGER & LEIMOMI BONG
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SOUL SEARCHING
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Since
2010, Roger Bong has been sharing the soulful side of Hawaiâiâs musical landscape with his label, Aloha Got Soul, which features rare and relatively obscure tunes from the 1970s and â80s.
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âMy intention is to record my art so that when I pass on, my children and my grandchildren will know, âShe was a musician, she had a message,ââ says Hilo musician Alice Wise, a kanikapila artist with only one recorded song to her name and who is featured in the Aloha Got Soul documentary.
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Halekulani Living 58 CULTURE
âThe Lord keeps you ticking, he gives you a lot of material and energy. He gives you purpose and meaning, and the songs just come,â says Kirk Thompson, the founding keyboardist of Kalapana and creator of legendary band Lemuria.
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shown clockwise from top
left: Kit Ebersbach, owner of Pacific Music Productions studio; Ward Yamashita, owner of Hungry Ear Records; Robin Kimura, leader of the 1970s band Greenwood and organizer of the 1970s Nightclub Reunion concert series that began in the early 2000s; and Edie Bilke, friend of the late Frank Tavares, a Mauibased musician who recorded an obscure experimental LP in the mid-1970s entitled Na Mele A Ka Haku
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Seven years ago, deejay and vinyl-record collector
Roger Bong started a blog to chronicle his cratedigging finds of albums and artists who fashioned the signature soul, funk, disco, jazz, Hawaiian, world-fusion sound synonymous with the 1970s and â80s in Hawaiâi. In the years that followed, Aloha Got Soul, as Bong named his blog, blossomed into a digitized archive of music otherwise destined to be forgotten in dust-covered bins across the islands; his mix tapes on Soundcloud featuring these discoveries have been listened to and shared thousands of times. Navigating the meticulous maze of music copyrights and licensing, Bong created a label to re-issue 17 vinyl records of rediscovered albums and singles. And monthly, the deejay hosts vinyl-centric dance parties, spinning Hawaiâi funk and disco in cities from Honolulu to Chicago to London. Bong is getting the world back into the groove, one unearthed record at a time.
Now, Aloha Got Soul is making a film.
Pedro RÀmos, a Brazilian film producer and avid record collector, read of Bongâs label in 2013 in Wax Poetics, a cult music magazine for crate-diggers. The article praised his Soul Time in Hawaii mix tape, which featured some of Aloha Got Soulâs most notable finds, like the feel-good song âLahainaâ by Al Nobriga, foot-stomping disco gems by Aura, and Mackey Fearyâs lesser-known Mackey Feary Band.
âMy mind was blow away,â RÀmos says. âI didnât know Hawaiâi was doing this kind of music back in the â70s and â80s. My perception of Hawaiâi is hula dancers and only that, not this funk and soul sound. I thought, man, this is a whole universe.â
Six months later, RÀmos reached out to Bong to see if he was interested in exchanging vinyls: Brazilian bossa nova from RÀmosâs country for Hawaiian soul from Bongâs home islands. The pair happily swapped records. Then, in 2016, RÀmos approached Bong about making a film documenting this genre of Hawaiian music. The two had never met in person, had no funds and no formal script, and only had a three-week window for filming. Reluctant
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Halekulani Living 60 CULTURE
61
â Hawaiian music, a lot of it was recorded for tourists and it was just distributed here. The only way we were heard is if someone happened to be here and heard it, and then made it known somewhere else,â says longtime Honolulu entertainment writer John Berger.
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but intrigued, Bong agreed, taking what he saw as a leap of faith.
RÀmos enlisted filmmaker Filipe Zapelini and assistant producer Pedru Carvalho for the production. The trio traveled to Honolulu, where they met Bong, and then together, they island-hopped to Hilo on Hawaiâi Island to shoot the documentary. The process unfolded organically, with the crew shooting interviews with 15 musicians, backed by the raw and awesome sights of Hawaiâi Island. Volcanoes and waterfalls are paired with a booming soundtrack featuring songs like Robert âAeolusâ Myersâs âJungle Love,â a powerful ambient track with indigenous influences not typically associated with the islands. Combined, the filmmakers aim to complete a harmonious 25-minute experience that delves into the work of notable artists featured on Aloha Got Soul.
âIt will make the world aware of the diversity of music made and still being made in Hawaiâi, and
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Halekulani Living 62 CULTURE
âAloha is not just a WaikÄ«kÄ« greeting line, it really is a mindset. The acceptance, the gentlenessâit should be taught in class. Itâs the only survival skill that we should learn,â says Pierre Grill, owner of Rendez-vous Recording, which welcomes aspiring artists looking to cut their first recording.
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63
âMusic can be taught in a public school no matter how rural it is, and it can be successful. That would be the legacy Iâd like to leave behind. Iâve taken this small community and made the very best of it, for the community and the state, setting an example,â says Gary Washburn, who has led Honokaâa High Schoolâs jazz band for nearly four decades and has recorded three jazz fusion albums.
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Halekulani Living 64 CULTURE
âThereâs so many terrible things happening. If we interact with each other as loving human beings, then thereâs peace. It radiates out. Thatâs what my music has been about over the years,â says Howard Shapiro (shown with his wife, Marsha Hee), a Hawaiâi Island-based musician whose band âÄina has addressed social and cultural issues.
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65
â In Hawaiâi, not as many of the subgenres get as much appeal ⊠Thereâs a lot of amazing jazz cats, amazing blues cats, hip-hop heads. [But] they end up performing for themselves or their friends in a small group, and yet these musicians are super talented,â says Nicholas Kaleikini, the grandson of legendary entertainer Danny Kaleikini.
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in ways that canât be expressed through the blog or in words,â Bong says. The documentary spends time with the eraâs seminal artists, like Kalapana member Kirk Thompson, who went on to form the jazzy, boundary-pushing Lemuria; engineer Pierre Grill, the man behind the longest-running recording studio in Hawaiâi; and dynamite musician Mike Lundy, whose 1979 LP The Rhythm of Life is considered a âholy grailâ by Aloha Got Soul standards for its rarity and Hawaiian funkiness. It also features contemporary musicians like Maryanne Ito and Nick Kaleikini, who draw on the influences of the â70s-era legends.
In the filmâs most enduring moments, artists perform their original songs in the presence of a new generation, showcasing what Aloha Got Soul is best at: making the old new again. The musicians light up at the thought of how far-reaching their songs have become in the age of the Internetâa means of distribution unfathomable when they first recorded them.
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Halekulani Living 66 CULTURE
âThe generation thatâs coming up, theyâre introducing new sounds and new ideas. On top of that, within the past few years, Iâve seen a lot of new faces coming into the islands. Our strength lies here in the music scene,â says Maryanne Ito, an up-and-coming jazz and soul singer who frequently performs in Honoluluâs Chinatown scene.
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67
The upcoming Aloha Got Soul documentary âwill make the world aware of the diversity of music made and still being made in Hawaiâi, and in ways that canât be expressed ⊠in words,â says Roger Bong, who founded Aloha Got Soul to serve as a digitized archive of music synonymous with Hawaiâi in the 1970s and â80s.
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Halekulani Living 68 CULTURE
Brazilian film producer Pedro RÀmos (shown top right), who approached Bong to create the Aloha Got Soul documentary, enlisted the help of filmmaker Filipe Zapelini (shown bottom), and assistant producer Pedru Carvalho (shown top left) for the production. âMy perception of Hawaiâi is hula dancers, not this funk and soul sound,â RÀmos says. âI thought, man, this is a whole universe.â
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69
âMusicians and artists and comedians become light gatherers because we walk through dark times, but to be able to express it is to let everyone know that you are not alone in this, we are all walking through some darkness,â says Hawaiian harpist Momi Riley.
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The heart of the narrative centers on these scenes, and a theme emerges as the camera follows the musicians in and out of recording studios and as they go about their daily lives. The documentary, now in post-production and set to be finished in summer 2017, easily represents the most time a film has spent covering these artists, many of whom are now in their 60s and 70s, who shaped this Hawaiian soundscape. âA lot of the story is going to revolve around the musicians, their experiences, and ultimately, their lifeâs purpose,â Bong says. âIt talks about life, spirit, aloha, and it talks about the music, too.â
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Halekulani Living 70 CULTURE
IMAGE BY JONAS MAON
CUISINE
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A STORIED CULINARY HISTORY
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At Halekulaniâs exquisite culinary destinations, discover links to history, literature, and art.
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79 CUISINE Halekulani Living
An experience is a collection of a thousand details. Such is the case at Halekulani, where lovely, intimate, and sometimes unexpected details add rich dimension to the premier dining experiences found at La Mer, Orchids, and House Without a Key. With storied links to history, music, literature, and art, each restaurant offers an assortment of anecdotal amuse-bouches to be enjoyed.
A Source of Inspiration
Evoking the casual charm of WaikÄ«kÄ«âs yesteryear, reservations are never needed at the House Without a Key, Halekulaniâs storied seaside restaurant. Guests are invited to stop in and step back in time to enjoy the hotelâs proud tradition of Hawaiian music, hula, and cocktailsâbest taken in during the sunset hour, when all is gilded in gold.
In the 1920s, novelist Earl Derr Biggers stayed in a cozy, low-slung bungalow on the property, then known as Grayâs by the Beach. As the story goes, when Biggers checked in, he asked the proprietress, Mrs. Gray, for a key. âWhat key?â She replied. âNo one locks their doors in WaikÄ«kÄ«.â
Biggers found grand inspiration under the propertyâs majestic kiawe tree during afternoon drinks with Halekulani hotel owner Clifford Kimball and Honolulu sheriff Arthur Morgan. Biggers was captivated by Morganâs riveting tales of the crimefighting exploits of Detective Chang Apana, a Chinese police officer renowned for his fearlessness and talented employ of a bullwhip. In 1925, Biggers published The House Without a Key, a mystery set in Honolulu featuring a Chinese detective named Charlie Chan. The novel became a sensational hit, spurring a series of books and films.
Named after the novel, House Without a Key evokes the simpler times of Hawaiâi that Biggers delighted in, and brings the romance and ease of WaikÄ«kÄ«âs past into the present.
Flowing Faculties
As WaikÄ«kÄ«âs only AAA Five Diamond and Forbes Five Star restaurant, La Mer is an exquisite exercise in fine dining, gracious service, and elegant ambiance. Situated on the second floor of the hotelâs historic main building, guests are treated to unfettered views of WaikÄ«kÄ«âs fabled shoreline. An attentive wait staff elevates hospitality to an art, while the award-
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Halekulani Living 80 CUISINE
The cuisine at Orchids, prepared by chef de cuisine Christian Testa, celebrates the sophisticated flavors of the coastal Mediterranean regions. Shown here is the homemade lasagnette featuring freshly made pasta, local Kahuku prawns, scallops, and avocado.
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In the 1920s, Earl Derr Biggers found inspiration under the propertyâs majestic kiawe tree for his novel The House Without a Key
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winning neo-French haute cuisine features local tropical ingredients. As a result, La Mer emerges as Hawaiâiâs ultimate romantic dining experience.
Ensconced like a jewel within elegantly carved wooden screens, La Merâs signature cocktail lounge, LâAperitif, glitters as an extension of the restaurantâs lâesprit français. Capturing the glamour and allure of La Belle Ãpoque, or âthe beautiful era,â of Western European history between 1871 to 1914, the cocktails, like the posh interior, are sophisticated.
Colin Peter Field of the esteemed Bar Hemingway at the Ritz Paris, who has twice been named âBest Barman in the Worldâ by Forbes magazine, guided the loungeâs reinvention of French cocktail classics. Accordingly, absintheâthe bohemian drink of choice for many artists and writers who flourished during the decadent eraâis offered the traditional way, la louche, employing a ritual that dilutes the absinthe by cold-water drip to an opalescent green.
And like La Mer, LâAperitif does romance especially well: For women, each cocktail is accompanied by a rose.
An Artful Experience
Harmony meets hospitality at Orchids, where light tradewinds, white-on-white décor, and open seaside
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Halekulani Living 82 CUISINE
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83
The Chang Apana cocktail, shown left, is named after the real life Honolulu detective who inspired the fictional character, Charlie Chan, and is made with fresh watermelon and a teaspoon of olive oil. The Hemingway Old Fashioned, shown right, is named after the famed author who stayed at the Halekulani in the 1940s.
The cuisine at Orchids is artfully prepared, including the lobster salad, which is made with succulent Kona Maine lobster.
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spaces give the restaurant a bright and airy feel. Breakfast, lunch, and dinner (as well as the famous Sunday brunch) are served in chic areas that seamlessly transition from indoors to outdoors. Complementing Orchidâs oceanfront aesthetic is chef de cuisine Christian Testaâs culinary vision: fresh interplays of local island flavors and Mediterranean-inspired, coastal Italian cuisine. The dishes are elegant, lighter fare, complementing the islandâs balmy climate. Although decadent, even Orchidâs signature coconut cake seems to float.
As suggested by its name, sprays of orchids are placed throughout the restaurant. Looking beyond Orchidâs dining room, guests can also see the restaurantâs signature flower at a grander scale, as a shimmering 82-foot mosaic at the bottom of the hotelâs pool. Created during Halekulaniâs renovation in the 1980s, the mosaic was an intricate artistic endeavor, and no easy feat. More than one million South African glass tiles were importedâeach tile numberedâand then painstakingly installed piece by piece. Showcasing a white cattleya orchid in an ever-changing prism of blues, the mosaic mirrors the restaurantâs aesthetic, a tableau of beauty and light.
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Halekulani Living 84 CUISINE
IMAGE BY JOHN
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EXPLORE
TEXT BY ERIC CORDEIRO
IMAGES BY JOHN HOOK, JONAS MAON, ROGER BONG & LEIMOMI BONG
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The public experience of buying music from record stores, many of which are now long gone, informed how listeners related to the music they purchased.
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Music stores, here and gone, are sacred shared spaces for exploring, listening to, and loving music in its physical forms.
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Listening to music is often a private affair. Headphones tune out the din of the world, providing a transcendent, solitary space. But in decades past, the act of buying music was a public one, a sign of your commitment to the tunes you love. Kevin Koga, a local deejay and record enthusiast, reminisces about going to the local music shop in WahiawÄ, which, at the time, specialized in early urban and hip hop records. âI would ditch school on Tuesdays and head down to Choice Cuts, because I knew what time the mail would drop off the new records,â he says. Music from tinny overhead speakers was punctuated by the clacking of upright plastic security cases holding CDs. âWhat year did this album drop? Who played on that?â strangers would ask, as they passed each other
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Halekulani Living 88 EXPLORE
For many record seekers on Oâahu, Jellyâs was the destination for delving into music, along with collectibles, comics, and books. Today, Jellyâs, now operating as Ideaâs Music and Books, remains the largest record store on the island.
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89
in alphabetized aisles in search of that same rush of discovery. This public retail experience informed how listeners related to the music they purchased.
Many would argue that the shift of music to its present stateâthat of existing online as a series of ones and zerosâserved as the death blow for the record store. This shift destabilized not only the items that such stores sold, but also the very foundation on which the establishments were built: connecting to musicâand othersâin a real and meaningful way. Music retail today is completely integrated into the listening experience. Anyone with the right technology can now hear something new, give it a thumbs up, click to buy, and have it in their workout mix in a matter of seconds. Because of this, the physical location of music has become nearly obsolete.
Music stores in Hawaiâi are unique and fragile. The stateâs population size has always been a limiting factor for any market, and Oâahu record shops and music stores have faced the challenge of enduring in a changing marketplace, one that forces them to adapt, or face the inevitable.
Hungry Ear Music opened in Kailua more than three decades ago. Selling new and used music in all formats, and releasing local music by a variety of bands, it was an oasis for record lovers on the windward side. In the last decade, however, Kailua has developed into a sprawling tourist mecca, forcing Hungry Ear to relocate to Honolulu in 2014 in order to survive. After only two years at its University Avenue location, the property that housed the store was demolished to make way for University of Hawaiâi at MÄnoa student dorms. Space in Hawaiâi, retail or otherwise, is costly; Hungry Ear is still searching for an affordable place to call home.
For many record seekers on Oâahu, Jellyâs, with its locations in âAiea and Kakaâako, was the destination for delving into the islandâs largest
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Halekulani Living 90 EXPLORE
Although the shift to digital may have rendered the pilgrimage to record stores obsolete, it didnât sate the desire for music. Music consumption today is as unbridled as ever. Image by Roger Bong.
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Record stores gave people a public square to explore their beloved music. They were meeting places where fans championed the music they loved. ã¬ã³ãŒãåºã¯ã人ã
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To address changing consumer tastes, John Friend and Kevin Cruze debuted the transient pop-up Secret Record Store in 2013, transporting crates of music to various locations so that generations of music fans could continue the hunt.
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collection of music, along with collectibles, comics, and books. In the â90s, it was the meeting place for anyone who listened to Radio Free, which played new music by local artists who might not have received airtime otherwise. In 2015, Jellyâs closed its âAiea location, consolidating its supply into the Kakaâako shop, which closed briefly before opening a year later as Ideaâs Music and Books. Ideaâs remains the largest record store on the island, but it is slow to adapt to changing tastes and consumption methods.
Although the shift to digital may have rendered the pilgrimage to record stores obsolete, it didnât sate the desire for music. Music consumption today is as unbridled as ever. According to a 2016 Nielsen music report, music-streaming apps, like Pandora and Spotify, now comprise the main method for listening to and interacting with music. In October 2016, Pandora had 77.9 million monthly active listeners. As this shift to music streaming platforms occurs, digital sales have decreased, giving physical album sales back market share. This has revealed an unexpected trend: In 2016, vinyl sales marked their 11th straight year of growth.
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Halekulani Living 94 EXPLORE
95
Hungry Ear Music opened in Kailua more than three decades ago, but was forced to move to Honolulu in 2014. After only two years at its University Avenue location, shown here, the property that housed the store was demolished to make way for student dorms. Image by Leimomi Bong.
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John Friend and Kevin Cruze debuted the transient pop-up Secret Record Store in 2013, transporting crates of music to various locations so that generations of music fans could continue the hunt. âPeople [browsing through records] open up in a way different than any other retail space,â says Friend, who started working at Jellyâs in 1985, when he was 15. Today, he and Cruze continue to haul records for their ephemeral shop to places like Bevy in Kakaâako and Downbeat Diner in Chinatown, where posters announce the dates to stop in and thumb through vinyl covers.
As technology allows for greater convenience and access to music, the amalgam of physical place, people, and art is becoming a rarefied thing. Hungry Ear, Jellyâs, The Beat, Stylus Hawaii, and many other record stores gave people a public square to explore their beloved music. They were meeting places where fans championed the music they loved. Today, this resource is stewarded by a small but passionate group determined to provide listeners a place to fall in love with music all over again.
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Halekulani Living 96 EXPLORE
IMAGE BY MARK KUSHIMI
CITY GUIDES
EXPLORE QUIET SPACES
IMAGES BY MARK
KUSHIMI
STYLED BY ARA
FEDUCIA
HAIR AND MAKEUP BY HMB SALON
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EXPLORE: QUIET SPACES
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Pick up a good read, and escape from the bustle of the city at these serene places.
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SPOTLIGHT
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HEAR HAWAIâI MUSIC
CHANEL
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Foster Botanical Garden This 14-acre respite in the middle of urban Honolulu is the perfect spot for getting into a good read. Relax under the shade of sprawling trees, check out the outdoor butterfly garden, or learn about an impressive collection of tropical plants in the conservatory.
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Derek Lam 10 Crosby embroidery shirt and Loeffler Randall tassel sneakers, Intermix; âS Max Mara quilted jacket and Weekend Max Mara geometric trousers, Bloomingdaleâs.
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Foster Botanical Garden traces its beginning to 1853, when Queen Kalama leased a small area of land to William Hillebrand, a young German doctor. A botanist as well as a physician, Hillebrand built his home in the upper terrace area of property and began planting trees.
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The conservatory at Foster Botanical Garden houses a world-class collection of orchids. It even holds one of the worldâs largest and most rare flowering plants, the corpse flower, which can take up to seven years to bloom.
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Faithfull shirtdress, Echo and Atlas.
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Living CITY GUIDES
Halekulani
Foster Botanical Garden
180 N. Vineyard Blvd. Chinatown
Faithfull sunkissed playsuit, Echo and Atlas.
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Faithfull shirtdress, Echo and Atlas.
ALOHA, LADY
BLUE
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A riveting crime novel with a good cause.
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A buried family secret, a mysterious death, a damsel in distress (or so it would seem)âAloha, Lady Blue has all the trappings of a good crime novel. Based, in part, on author Charley Memmingerâs experiences as a former crime and investigative reporter at a Honolulu newspaper, Aloha, Lady Blue follows the story of Stryker McBride, a washed-up journalist seeking to uncover the mystery of what happened on Kahala Roadâa road that doesnât exist on any map.
McBride, who feels responsible for the death of one of his sources years ago, would be content to spend the rest of his days with âthe gods,â as he calls them, two German shepherds named Kane and Lono, sipping Budweisers for breakfast while dry-docked on his boat, the Travis McGee. But he has little time to wallow after his help is enlisted by the beautiful Amber Kalanianaole Kam, a former Punahou classmate, who asks McBride to look into the mysterious death of her uncle Wai Lo Fatâa name that conjures up ties to the Chinese syndicate if there ever was one. What follows is an action-packed storyline that will leave you hanging on until the truth behind Kahala Road and what took place there is revealed.
A riveting whodunit for those familiar with Hawaiâi, as well as those who arenât, Aloha, Lady Blue delivers visual soliloquies that take readers past sweeping taro fields and heart-stopping mountain ranges, while incorporating factual elements with panache. Readers get a quick lesson in Hawaiian history, from Captain Cookââwhackedâ after Hawaiians realized he wasnât the manifestation of the god Lonoâto Chinese plantation workers, for whom McBride tries to imagine âhow bad life in your own country would have to suck before it seemed like a good idea to sail ten thousand miles to work in a strange foreign land under the hot tropical sun.â
The book was originally published by St. Martinâs Press in 2013 and was released in paperback form in 2015. In a tribute to the bookâs canine characters, Memminger has pledged to donate all author royalties from its book sales to the Hawaiian Humane Society. âI realized what an important job the Hawaiian Humane Society has, not just putting dogs and cats up for adoption, but taking care of all the animals in its care,â writes Memminger, who first became interested in helping the Humane Society after adopting his familyâs first pet, Boomer, a poi dog with a strong hint of border collie, in 1995.âlisa yamada-son
Aloha, Lady Blue is available in bookstores around Hawaiâi, as well as on Amazon and bookshawaii.net.
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CITY GUIDES Halekulani Living 112
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Halekulani Living 114 CITY GUIDES
left : Lacausa vintage tee and trouser, Echo and Atlas.
top right : Mark D. Sikes maxi dress and Eugenia Kim straw hat, Intermix.
Citizen Steele
In this novella by Peter Shaindlin, published by Deuxmers (read more on page 32), reclusive attorney Richard Jason Steele probes questions of his existence after committing a violent crime and facing execution. In his growing anguish, Steele examines the work of French author Michel Houellebecq:
âNot everything can be explained. There is thought and so there is reason, and so there is hope but inevitably, despair. An inanimate idea would be the perfect expression of infinity as a conscious state of mind ... a parallax portal by which one could stop living momentarily in organic terms, perhaps long enough to exchange ideas with God.â
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Queen Emma Summer Palace
From 1857 to 1885, the Queen Emma Summer Palace served as the summer retreat of Hawaiâiâs royal family, Queen Emma KaleleonÄlani Rooke, her husband, Kamehameha IV, and their son, Prince Albert Edward.
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Queen Emma Summer Palace 2913 Pali Hwy. Honolulu
Living 116 CITY GUIDES
Halekulani
Mark D. Sikes maxi dress and Eugenia Kim straw hat, Intermix.
117
THE VALUE OF HAWAIâI 2
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A series of essays encourages dialogue issues in Hawaiâi that will affect future generations.
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Though it was published in 2014, The Value of Hawaiâi 2: Ancestral Roots, Oceanic Visions, co-edited by Aiko Yamashiro and Noelani Goodyear-KaâÅpua, remains relevant in prompting dialogue on some of Hawaiâiâs most pressing ecological and social issues.
The follow-up to The Value of Hawaiâi: Knowing the Past, Shaping the Future (which was published by University of Hawaiâi Press in 2010), the book is compiled of a series of essays written by 40 different authors. Canoe captain and educator Bonnie Kahapeâa Tanner tells sea tales about the voyaging canoe KÄnehÅ«nÄmoku and the lessons it imparts to keiki. Jeffrey Tangonan Acido discusses the capacity of faith as a tool of equality in the Philippines and urban Honolulu.
âWe know that our children and grandchildren will carry the full weight of ecological and social problems, such as climate change, growing economic inequality, and erosion of public safety net services, which have been left to us to address,â write Yamashiro and GoodyearKaâÅpua. The way they address those issues is through stories of hope, work, and joy.âsonny ganaden
The Value of Hawaiâi 2: Ancestral Roots, Oceanic Visions is available at uhpress.hawaii.edu.
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opposite : Alexis mini flare skirt, Marissa Webb organza blouse, and Castañer denim wedge, all from Intermix.
CITY GUIDES
118
Halekulani Living
119
MÄnoa Valley
Although the lush neighborhood of MÄnoa is most commonly known as being home to the University of Hawaiâi, it is also filled with a high concentration of historic homes listed on the National Register of Historic Places. Once a year, MÄlama MÄnoa holds walking tours of some of the areaâs historic homes. The tour includes at least eight interior visits along a 2-mile route of more than 60 homes built in the 1920s and â30s. For more information, visit malamaomanoa.org.
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121
BARBARIAN DAYS
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A Pulitzer Prize-winning autobiography.
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opposite : Self-Portrait flounced sleeve top, Rag and Bone denim pants, and Loeffler Randall tassel sneaker, all from Intermix.
It seems odd at first that William Finnegan, when writing his memoir, chose to center it upon surfing. Finneganâs work as a war correspondent flung him to fascinating and perilous corners of the world. Yet, Barbarian Days: A Surfing Life, which won a Pulitzer Prize in 2016, is about his experience inâand connection toâwater.
For Finnegan, the dedicated study of one simple thingâthe way a body and a board move across the face of a waveâlends itself to the study of much more complicated, even maddening, things: wars, apartheid, uprisings, human nature, and above all else, change.
Born in California, Finneganâs story begins with his familyâs relocation to Hawaiâi in 1966. At age 13, beneath the shadow of Oâahuâs Diamond Head Crater, he began a lifelong surfing practice. In the mornings, before catching the bus to school, he would walk down the path fronting his house to surf Cliffs, where heâd hone his skills while studying the older, better, cooler local guys in the line-up. His recollection is enough to trigger a lingering nostalgia even in those born in an entirely different era of Hawaiâiâs history.
Finnegan left Hawaiâi with his family and traveled the world, first as a young man in search of undiscovered waves, then as a reporter, and later, as a seasoned surfer on holiday from his stable, professional life. Over the course of this time, surfing became an industry; breaks were commercialized, empty lineups filled, and quiet towns and villages developed into tourist destinations. A pattern emerged. As much as anyone else, Finnegan was altering the very landscape he longed for.
In one particularly moving passage, Finnegan mourns the death of a beautiful break in Madeira, off the coast of Portugal, ruined by the construction of a seaside roadway along the town of Jardim do Mar. âBeyond the loss or gain,â Finnegan writes, âI found these sudden changes to established surf spots profoundly unsettling.â As he ages, the author accedes that even his body has begun to change without his permission. Still, there is solace in an expertly ridden wave, a hollow barrel, and the constant movement of the sea. For all its painstakingly detailed accounts of encountering surf breaks in Fiji, South Africa, or Honolua Bay on Maui, Barbarian Days is about much more than just surfing. Itâs about a life molded by time, physics, and the force of deep-water energy crashing into land.âtina grandinetti
Available online and wherever books are sold.
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CITY GUIDES
Living 122
Halekulani
123 EditorâsPick
KILOMETER 99
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Find escape in the waves of El Salvador.
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opposite : Lacausa dress and Nightcap seashell gown, Echo and Atlas.
It starts with a near perfect barrel ride at a Salvadoran surf break, closed out in a heap of whitewash and a heavy dose of foreshadowing. With short chapters that pile on quickly and often end with a cliffhanger, Kilometer 99 is a fast-paced read about a young Peace Corps engineer from Honolulu. The no-fuss writing suggests a charming beach read; however, it is no delightful travelerâs escape to El Salvador, no feel-good Eat, Pray, Love. Local writer Tyler McMahonâs prose instead swiftly builds the setup for an adventure that tragically devolves shortly after the scene is set.
The plot centers on Malia, nicknamed âChinita,â a Peace Corps volunteer who headed to El Salvador for a chance to see the world. Instead, she finds herself faced with widespread destruction after an earthquake racks the country, her nearly completed water project destroyed. She and her boyfriend decide to cash out and take a surf trip around South America, only to get waylaid by a mysterious bumbling foreigner who pulls them into increasingly shady deals.
Itâs in McMahonâs descriptions of the surf sessions, the vividness of El Salvador, and the intense moments when things get progressively worse that McMahonâs writing shines. When a second earthquake hits El Salvador after Maliaâs passport and money have been stolen, she picks up a surfboard and heads for the ocean. âI realize then, or remember perhaps, that the surferâs idea of perfection is different from everyone elseâs,â Malia narrates. âIt isnât abstract or inscrutable, some shadow on the wall of a cave. We know what it feels likeâperfectionâhow it looks and the sound it makes.â
McMahon, a professor of English at Hawaiâi Pacific University who was a Peace Corps volunteer in El Salvador, creates an engaging narrative spiced with convincing details, from local Salvadoran food and architecture to the types of characters found in a seaside town awash in cocaine. In this quick read, El Salvador flashes by the window. Kilometer 99 is more destination than escapeâitâs a novel, after allâand one worth visiting.âanna harmon
Kilometer 99 is available online and wherever books are sold.
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CITY GUIDES 124
125
ITINERARY QUIET SPACES
TEXT BY ANNA HARMON & SONNY GANADEN
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HEAR HAWAIâI MUSIC
HEAR: SOUNDS OF HAWAIâI
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Three contemporary Hawaiâi musicians worth a listen. ããããã®ã³ã³ãã³ãã©ãªãŒãã¯ã€ã¢ã³ã»ã¢ãŒãã£ã¹ã
SPOTLIGHT CHANEL
For more information, visit kalanipeamusic.com.
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Kalani Peâa
Kalani Peâa has a lot of reasons to smile these days. At this yearâs 59th annual Grammy Awards, Peâaâs debut album, E Walea (which means to be exuberant), took home the award for best regional roots album. This win marked the first time a Native Hawaiian artist has received the award for this category. Peâa, who is an educator at Kamehameha Schools on Maui, learned Hawaiian at a young age and began singing at 4 years old. His style reflects his love for the islands, and is influenced by Hawaiian, contemporary, soul, and rhythm and blues music. âIt is through Hawaiian music and poetry that we share our moâolelo (stories),â Peâa says. âI want to leave hoâoilina (legacies) for my family, my students, and the communities we serve through higher education, and through creating Hawaiian music.â
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126
CITY GUIDES
For more information, visit kamakakehau.com.
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Ryan Kamakakehau Fernandez
At six weeks old, Ryan Kamakakehau Fernandez, who was born in Little Rock, Arkansas, was adopted by Robyn Naeâole. Raised on Maui, Fernandez attended Ke Kula Kaiapuni âo Kekaulike, the Hawaiian language immersion program at King Kekaulike High School, and spent his spare time learning to be a professional singer. While he is not Native Hawaiian, Fernandezâs talent in leo kiâekiâe, or Hawaiian falsetto singing, preclude any questions of his authenticity. Though people who sing in this style usually begin at a young age, Fernandez started in 2003, when he was 18 years old. But he was a natural, and within the first year, he won the Hoâopiâi Falsetto Contest. In 2013, the singer won a NÄ HÅkÅ« Hanohano Award for his EP, Wahi Mahalo. Though his falsetto is hauntingly pristine, Fernandez also enjoys performing neo-soul and gospel styles. âThere are so many places Iâd like to take my music,â he says. âThis is just the beginning.â
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128 CITY GUIDES
For more information, visit kimieminer.com.
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Kimié Miner
In 2016, Kimié Miner won a NÄ HÅkÅ« Hanohano Award for best contemporary album for her self-titled album. âSince I could talk, I could sing,â Miner says. âI always loved anything music.â At 14 years old, as a boarder at Kamehameha Schools on Oâahu, Miner began her musical journey by singing from her diary and playing along with her new guitar. Last year, she was also chosen to participate in the Creative Lab Hawaii Music Immersive, a mentorship initiative founded by the State of Hawaiâi Department of Business, Economic Development, and Tourism that offers select musicians the rare opportunity to work directly with top industry professionals and music executives. âAs a Hawaiian, it makes me so proud to have this opportunity to share our culture through music on a much bigger scale,â Miner says. âTo me, weâre creating a new legacy for Hawaiian music.â
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130 CITY GUIDES
ITINERARY QUIET SPACES
IMAGES COURTESY OF CHANEL
Designed by renowned
New York-based architect
Peter Marino, Chanelâs two boutiques at Ala Moana Center evoke a vibrant sense of luxury inspired by local Hawaiian culture.
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HEAR SOUNDS OF HAWAIâI
SPOTLIGHT: CHANEL ALA MOANA CENTER
SPOTLIGHT CHANEL
âGive a girl the right shoes, and she can conquer the world,â Marilyn Monroe has been quoted. The iconic star, who famously wore only Chanel No. 5 to bed, would certainly have reveled in the unveiling of Chanelâs redesigned boutiques at Ala Moana Center, including its first freestanding boutique in the United States devoted exclusively to shoes.
Designed by preeminent New York-based architect Peter Marino, the two boutiques marry signature elements inspired by Mademoiselle Coco Chanelâ including visual nods to her legendary Paris apartment on Rue Cambonâwith hints of Hawaiâi. Electric hues of pinks and purples, inspired by the breathtaking sunsets found in the isles, are set against a backdrop of minimalist black, white, and gold accents. Marino
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CITY GUIDES
Chanelâs two-story shoe boutique, a sophisticated black and white space illuminated by bright, textural decor, is accented by a custom 24-karat gold leaf display wall.
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designed both spaces using materials and finishes exclusive to the boutiques at Ala Moana Center, including Venetian plasters that were hand-applied by local artisans.
The boutiques, which opened in November 2016, represent Chanelâs longstanding ties to Hawaiâi, and the vitality of the stateâs market. The companyâs foray into the United States began with the opening of the WaikÄ«kÄ« location in 1983. In addition to the shoe boutiqueâwhich houses a dizzying collection of spectator and saddle shoes, pearl-trimmed sandals, ballet flats, and iconic two-tone Chanel pumpsâ the main two-story boutique offers ready-to-wear collections, and a selection of handbags, watches, and fine jewelry.
For more information, visit chanel.com.
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134 CITY GUIDES
Halekulani, the most internationally acclaimed of all Hawaiâi hotels, blends serenity and understated elegance with exceptional service to create an oasis of tranquility.
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136
HALEKULANI GUIDE
LEGACY
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Halekulaniâs beachfront location has welcomed people since 1883, when the original owner, Robert Lewers, built a two-story house on the site of what is now the main building.
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The fishermen of the area would bring their canoes onto the beach in front of the property to rest. So welcomed were they by the Lewers family that the locals named the location âhouse befitting heaven,â or Halekulani.
In 1917, Juliet and Clifford Kimball purchased the hotel, expanded it, and established it as a stylish resort for vacationers, giving it the name the locals originally bestowed on it, Halekulani. The hotel was sold following the passing of the Kimballs in 1962. Almost 20 years later, it was purchased by what is now the Honolulu-based Halekulani Corporation. The hotel was closed and rebuilt as the existing 453-room property.
Today, Halekulaniâs staff, location, and hospitality reflect the original Hawaiian welcome that defined the property.
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HALEKULANI GUIDE 138
139
DINING
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At
Halekulaniâs WaikÄ«kÄ« restaurants, awardwinning chefs create signature dishes from Hawaiâiâs freshest ingredients.
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Each of Halekulaniâs restaurants celebrates its own distinct style of cuisine, and all offer stunning views of the sea.
Select from La Mer for fine dining, Orchids for more casual elegance, or House Without A Key for a relaxed ambience.
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140 HALEKULANI GUIDE
141 +
SPAHALEKULANI
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SpaHalekulani intertwines authentically crafted Polynesian therapeutic rituals with todayâs purest products and proven techniques, elevating the spa experience to be both immersive and rejuvenating.
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The award-winning spa is renowned for a commitment to harmoniously restore the mind, body, and spirit of guests with a respite that is spiritual, cultural, and emotional.
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142 HALEKULANI GUIDE
143
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