01/15/13

The Eel Boy Of Pilimoo

When I went to visit the Pearl City Mormon Church, I met a native there who told some interesting stories. One of these was the Eel boy of Pilimoo, a pool in Pearl City. This pool had an underground tunnel that led to the sea. For a long time there was no danger to the children that came to swim in the pool until a man-eating shark discovered the tunnel and slipped in and out at will.

One day, a boy went to the pool and disappeared, no trace was of him was found. His father was so worried that he went to consult a Makuala or prophet. The makaula asked his gods, who told him that it was the will of the gods to change him into a small eel, so that he could live in the depth of the pool and warn the children of danger.

The father of the boy went to the pool to see if it were so. He sat there a long time and neither saw nor heard anything. Then the children gathered at the opposite side of the pool from him and began to dive and play.

Suddenly he heard a whistle which sounded so like the whistling of his son when he went home every day after playing. “That sounds very much like my son’s whistling.” he said to himself. He looked around and saw nothing. The whistling was repeated. Then looking toward a ledge under some hau trees, he noticed the head of an eel. Every now and then it whistled. He drew closer to it and spoke to it, “Can it be that you are my son? How did your human body change to an eel?” The boy replied, “Yes, I was once a boy, now I am an eel because the gods have willed it, so that I may save human lives from the wicked sharks of the deep that come here. Go and tell those children to go home. Tell them to listen and if they hear whistling that is a warned that they are in danger.

The man went as he was told to do so. He told them to listen for a shrill whistle every now and then. That was a signal to go away at once.

The eel whistled again so loudly that the children heard him and went away. The father remained to see if a shark would appear. A little while later he saw the dark form of a big shark swim about in the pool.

So it was that ever after, a whistle was a signal that danger was near.

— Makahonu Naumau (informant)
May 22, 1940
HEN: VOL I, P 1595

01/13/13

Hawaii Punk’s Not Dead

I began doing my research for this article by reading and listening to interviews by former Red Hot Chilli Peppers’ guitarist, the late John Frusciante, who had a quote that really put the interview into context.

The force that created us is expressing itself through our existence. I don’t think a musical idea starts in your brain. I believe it starts at a place before that we don’t have any direct contact with. And I believe that everything that we do or everything that we create is nature expressing itself.

Cataylst channels the nature of not only their environment. But of generations of musicians before them.

It is my privilege to present an interview that took place at the Waianae Piilau Skate park on “Rusty’s Ramp”.

Mahalo

Could you begin by introducing the band, who the members are the instruments they play and the sound of your music?

Tom Talkington shredding on guitar, Jeromey hoots on slapping bass and Aaron Overbay kicking drums. Our sound is little bit of all the music we listen to and smash it into a catalyst.

What’s the origin of the band Catalyst and how did the name come into being?

Tom and Jeromey started jamming in 1989 in Makaha with various friends. When Aaron was only two years old haha. Several starts and stops and long hiatus from Hawaii to Portland and back again…finally to reemerge in a fabrication warehouse in Sand Island in the summer of 2010. Our original drummer Chris “Critter” Wilcox came up with the name Catalyst because we all surf and they work with catalysts all day long. We appreciate the other definitions of ‘catalyst’ which really describe our approach to music in general. Now with our new drummer faster guitar and sicker lyrics we are the Catalyst you hear today.

What influences played a part in the band’s style? Have your influences changed over time and in doing so morphed the sound of Catalyst?

Aaron’s influence is more metal based. He is a total metal head with a lot of punk influences.
He’s a huge Dead Kennedy’s fan, and is also into Slipknot , Mudvayne and Stevie Ray Vaughun.

Tom Talkington’s influences stem mainly from his love of the guitar. Artists include Eric Clapton , John Bonham, Joey Jordison , John Fruciante , Man Or Astroman ,D. Boon (of the Minutemen), Tom Waits ,Frank Zappa and the Clash.

Jeromey’s love for music mostly stems from his father’s favorite musicians, Dave Bruebeck, Fleetwood Mac. He also has a love for Hawaiian music, Olomana, early Makaha Sons and Aunty G. Keawe, to name a few. A heavy early punk influence is still carried front and center. Ultimately the Minute Men , Angry Samoans and Fugazi, but ultimately a love for music of all sorts.

What are some of the challenges you faced starting out as a band and how did you overcome them?

The challenges we face are many. We have a formula for making music and we try to use that same formula to extinguish any doubt that music is dying. We don’t worry if people love or hate the music. The biggest challenge really, is being a band in Hawaii because of the clicks of music…if it’s not reggae, ska, or crappy cover songs nobody wants to hear them…sorry guys no ukuleles in this band. We just try to shut people up an listen to music by just bringing it and ignoring that fact that some people will not like it. We keep playing what we like to play and we hope our audience finds us. Keeping up with trends is not what we’re about.

How would you define punk rock?

Our definition of punk rock is our definition of our style playing what you want to play and not giving a crap what anyone thinks of it, just as long as no matter what or where we are playing, we are having the most fun at the show. Punk should not be a genre of music but really an attitude or lifestyle. The same way that alternative is a genre, because it really doesn’t describe anything it just gives it a vague description of something that can’t be classified.

I’m sure you’re familiar with the 1981 Exploited song titled Punk’s Not Dead. Although the album and title may be a bit outdated, what is your opinion on the state of the Punk scene?

“Punk’s not dead…it just deserves to die when it’s become another stale cartoon. A closed-minded self-centered social club, ideas don’t matter, it’s who you know.” – Jello Biafra (Dead Kennedys)

I have been doing my best to keep up with the modern punk sounds. However I must admit I’ve been a bit disappointed at the direction of most popular bands. What is your opinion on the neu-punk culture and sound? Can every band be a Rancid and still be hardcore? Also how fares the Hawaii Punk Scene?

A lot of bands are restricted because they want to be popular and are stuck in a certain sound that they think will make them famous. I feel bad because they still try but it’s like taking a drink out of an empty bottle of Jameson. You don’t get anything from it. As much as the sound culture has changed people still want to hear something new and strange. I would like to give shout out to all the bands who want people to hear something new like: Sandpaper Handjob , Hell Caminos ,Above Reproach, Old Habits Die Hard , Knumbskulls , The SUBSTITOOTS , Black square , Unit. 101 and also Simon from Black Flys for keeping it alive.

I personally have noticed over time, how the mod/punk/metal/Goth fashion trends of our yesterday has become common place in society today. What are your opinions on this?

I have definitely noticed that the underground culture has manifested it’s way into the mainstream. I grew up in Makaha and back then you would get slapped and have a hard time making it through the day if you showed up with blue hair and a nose-ring. My schoolmates and I would constantly be accused of worshiping the devil for wearing Minor Threat, Dead Milkmen t-shirts or anything that veered from the norm. It’s a lot easier now days to express individuality, but as we have learned from the past, everything comes full circle, including the expression of music: No genre will ever be forgotten in our day to day lives, we relive the past so modern times will always accept things of the unnorm because they love differences.

What advice could you give to some up and coming punk bands in Hawaii?

My advice would be to do your research. Don’t let someone tell you what is punk or cool. The net has made everything so accessible. Listen as far back as you can and find something you like and make it your own. Trust what you feel good and run with it. All good things come full circle. Don’t be afraid of things that make you uncomfortable, because if it makes you feel good it must be good. Just remember, everyone is different just like everyone else.

What is your opinion on digital downloading of music as a means of advertisement and distribution?

If anyone wants our music bad enough and they illegally download, that’s an honor that they would go to any means to get it. Record stores are things of the past, so music is either in your face or your search will always continue. Our music can be found on Facebook. But what about album art and the people that should be recognized for the album? A lot of people are forgotten and they shouldn’t be because they are just as big a part of the music being made as the band is. It’s tragic that people just don’t care about anything anymore. There is no recognition in music anymore. Do a test for me name a amazing guitarist, bass player, or drummer from the 21st century. You can’t because unless you’re behind a computer making a stupid beat, acting like you have knowledge of music theory, you’re nothing in our world of music. What can a musician do in a world of technology where anyone can be original but pressing the space bar key on a computer to change the bass drums timing? What’s the talent in that? I miss musicians in music .

I would like to dedicate this article to all the hardcore Hawaii punk bands who are still cranking out tunes for their loyal fans. I would also like to dedicate this article to a friend who passed long ago. Rusty Hoots, who will forever be in our hearts.

01/10/13

MO`O: DRAGONS OF HAWAI’I

Uncanny Hawaii is honored by an article submission from Hawaiian author Mike Limatoc on the Mo’o Dragons of Hawaii. Mike has dedicated his life to the research and study of Dragon lore.

When one conjures up images of Hawai`i in the mind, more often than not you see rolling white sand beaches covered from end to end in spanning beach lounge chairs and painfully sunburned visitors. Perhaps the skyline of Waikiki and the lanes of unending traffic that snake between the city’s cement obelisks to the modern day tourism trade. If you’re lucky enough, perhaps you’re able to envision the days of old, when royal ali`i walked tall and proud amidst their courts when Hawai`i was still untouched by the western world. But surely, the thought a fire-breathing, ageless reptile that guarded the land and ate humans on a whim never even came close to crossing your mind. No, never dragons in paradise. Right?

In fact, like many other cultures worldwide, the ancient Hawaiians also harbored myths and stories of dragons in their legends and oral histories. Perhaps they weren’t the knight-crunching devil beasts of the old world, or the benevolent water serpents of the far east, but they were indeed powerful creatures that were not to be trifled with. Because of the vast menagerie of cultures that have spanned the globe over the past few thousand years, let us begin at the beginning of beginnings, and define exactly what is a dragon.

The word ‘dragon’ in the English language comes from the Greek word draco which means ‘to guard’, bearing some grain of truth to the western dragon’s notoriety for protecting great hoards of treasure. While this term is applied generally to a number of creatures, great and powerful nonetheless, this behavior is not necessarily shared by all dragons on a culture spanning basis. For instance, the great feathered serpent-like dragons of South America were more akin to gods, and occasionally even demanded human sacrifices in their honor. So, to be fair and even within reason, the definition of a dragon in reference to our current topic can be read as follows: a chimeric creature, with mostly reptilian characteristics, that has a definitive innate ability for the supernatural, and a definable relationship with mankind, whether it be positive or negative. This generalized description covers the majority of dragon-like entities in any number of different cultures, from Japanese sea dragons to the great wyrms of the Celtic druids. But because we are being culturally specific as well, it is only logical to define the dragons of Hawai`i within the boundaries of their own linguistic nomenclature.

The Hawaiian word for dragon, in its most general sense, is Mo’o. While this term has been used throughout the centuries to define any number of creatures, from very real animals of immense proportions (such as large moray eels or particularly massive sea turtles and sharks), to natural landmarks that held cultural and legendary significance, its actual meaning can be defined as ‘lizard’, and it has been applied to several supernatural entities in the annals of Hawaiian legend. For instance, the goddess Hi`iaka is known to have slain several monsters, many of them Mo’o, most notably the mo’o whom she slain when he denied her entrance to the island of Oahu from its eastern shore, and whose tail tip she cast back into the sea once he was killed, creating the small island Mokolii, or modern day Chinaman’s Hat. The goddess is also known to have a fought a Mo’o witch, in human form, who was one of the first entities to attempt at impeding her path through the dream world to save the soul of her lost lover. This characteristic of the dragon being able to take on another physical form is shared by countless other cultures.

The Mo’o is also known to have an affinity for water, staking claims, to this day, on many of the freshwater bodies across the island of Oahu. This is another feature very common with the image of the dragon: being associated with the most important of all life-giving elements, water. Across Asia, dragons in multiple cultures were seen as protectors and givers of water at times of great need. Even in Europe, scaled beasts were commonly seen spewing forth great tumultuous spouts of water. But from where does this association arise? It’s theorized that the ancient Hawaiians may have carried these legends with them from their home of origin, which is also believed to be a coastal region of South America, which is home to several water-dwelling species of crocodilians. This could have easily lead to future legends of great lizards that dwelt in streams and ponds. Or perhaps, without written historical record, sailors from China or Japan made it as far as ancient Hawai`i, and shared their own culture’s legends with the natives, leading to a similar shared mythos. Or maybe, just maybe, there really were, and possibly still are, great slumbering dragons dwelling on the Hawaiian island chain, just waiting to see the light of day yet again.

Written by Mike Limatoc
Michael Limatoc studied English/Creative Writing at the University Of Hawaii.

Mike’s contact information

01/8/13

Lapalapa – Oceanic Rift

Lapalapa: Phosphorescence on the beach at night, believed by the Hawaiians to be the souls of the dead. Also believed to be a portal or rift into the next world.

01/7/13

Ha – Spirit Of Life

“The Word for breath, Ha, also means life, and is found again and again in chants of old Hawaii. Prayer and communication with the gods are associated with the breath of life. In Breath was the life force and the individual spirit, considered so elemental that the greeting in old Hawaii was a close face-to-face sharing of the breath of life( Honi). When a kahuna was dying, he passed on the power and knowledge that he had acquired in a lifetime by literally breathing into his protege. Other Hawaiians passed on their gifts in their professions-talents and mana to a family member through their breath. Mana vital life force could also be imparted to objects by breathing on them”

Fundamentals Of Hawaiian Mysticism.

Charlotte Berney

01/5/13

The Enlightened Potter. An Oahu’s Potter’s Quest For Perfection.

I was surprised when I googled the entry “passionate/enthusiastic Potter” and my results did not bear the name Larak Briscoe, because you will never meet a more fervent potter in our day.
I was fortunate to interview this master craftsmen and discus his artistry and how he channels the ancestral wisdom for his life long vocation.

Could you tell me about your craft what it’s called and a description on what it is?

I started doing pottery almost 20 years ago, when I was a sophomore in High School. What I do now is almost exclusively wheel thrown ceramics, fired in Raku. For sake of simplicity you could say I am a Raku Potter.
Raku, if you’ve never heard of it, is an ancient ceramic firing technique developed in the 16th Century in Japan by tea masters where the pots are fired very quickly up to an eyeball-guestimate of 1800 degrees F, then using some long heavy duty tongs, taken out of the kiln while still glowing red hot. There are many derivatives of what happens next, and timing is key. Depending on what glaze is used, some pots are thrown directly to cool in water (as with traditional Raku), some “luster” glazes are thrown in a combustion chamber with heaps of newspaper or sawdust, then “flashed” with oxygen to bring about colorful almost metallic affects. Others are left “naked” where the clay body itself is exposed after scraping off a thin layer of slip, revealing intricate partly purposeful designs in stark white and black.

What motivates you to continue your craft and what enjoyment do you receive?

I get enjoyment out of all of it; the ups and the downs. By nature, Raku has a very high breakage ratio, for instance. And consistent results are almost impossible to achieve.Though these aspects might not be very motivating, as an artists on this lifelong journey, it makes me appreciate the challenge of my craft, and celebrate that much more, in the times I am successful.

I am motivated most of all, by just knowing I am creating something beautiful that is one of a kind. Something that I put heart and soul into and created start to finish… and if I’m fortunate enough that another person appreciates it, buys it, even cherishes it, then that’s a bonus.

Where did the name Raki Raku Pottery originate?

The Raki Raku Pottery name, well it just worked out that way. My given name is Larak , but I go by Raki. At some point after stumbling onto Raku, I decided to register my company as Raki Raku Pottery.

Could you explain the Raku Philosophy of Imperfection and how that could apply outside of pottery?

Back in the day, starting around 400 years ago, when the tea ceremony vessels were made in Raku, the desired aesthetic was established to be “imperfect,” or asymmetrical. I’ve read over and over how these lopsided pots are masterfully crafted, but to be honest, part of me will never get it. For me the craft reaches beyond just the pot. It’s the entire endeavor of being an artist. I like my pots iconic, shiny, and completely symmetrical. They are to celebrate life and the elements that bring us through it.

The philosophy of Imperfection, however, I fully embrace. The basic idea as I understand it is: art is created to make you contemplate life. In a piece of pottery, you might see an impression, and then recognize it as the Potter’s hand leaving its mark on the clay. Outside of pottery, I suppose life itself is full of awkward impressions, dings, scrapes, and general unevenness. One must be able to accept how things are and enjoy being in itself. Nothing is perfect.

Is there a large difference between traditional and western Raku?

Traditional Raku was created for a ceremonious drinking of tea. The Raku was intently simple, made for holding comfortably and perhaps not to draw attention to the vessels, so one could focus. Browns and blacks, earthy tones were used. Remember, we’re talking about ancient Japan, so that means living their austere life with a sense of duty, discipline, harmony, and above all, enlightenment.
Western Raku, is not confined by rules of austerity and functionality imposed on aesthetics by the traditional Raku tea ceremony.
There are a couple individuals that are accredited with completely reinventing Raku. Bernard Leach, from England, and Paul Soldner from the U.S.
They experimented with the craft and developed a completely new addition to the firing process and the post firing reduction. The entire flashing process was literally invented by these guys! Basically, instead of taking the glowing red hot pots out of the kiln and cooling them by air and water, the pottery was instead quickly thrust into a combustion chamber, and then allowed to oxidize (flash). It is this process alone that causes the metallic luster’s that Raku is often known for.
To me, these guys are the Bill Gates and Steve Jobs of Pottery. Their work, and their willingness to share their methodology, resulted in what I associate to be Western Raku, or American Raku.

Where do you see Raku in 5 years 10+ years?

I would like to see more educational programs on the high school and university level carry raku pottery programs. Also, I would like to see the technique well documented in high production value multi-media on the web with potters active in a community sharing their discoveries.

I would, of course, love to see the craft go through another epic transformation, such as what Soldner and Leach have done. I don’t know that would be… perhaps some movement that included a blockbuster movie, a sold out benefit concert, or a mega dj. I don’t know. The sky is the limit for my expectations of this artform.

If I had my dithers. I’m holding out for Raku Pots transmuting into Hogwarts port keys!

Are there any Potters that have influence your through the years or mentors to name?

Somewhere along the line back in high school ceramics class, Senior year, I read a book about a famous potter named Thomas Coleman. The author was a good friend of my father’s and he has since passed. He wrote it from a journalist’s perspective, capturing the endeavor of a talented unknown on the brink of stardom. The book is titled, “The Mudpie Dilemma”. And it delves into the core nature of artists, “Should one make what sells, or make what satisfies his/her own muse of creativity”. At the time the book was written (1977, the year I was born), Coleman was a no-name. Since reading that book I have always followed Coleman’s career, which took off thereafter.

I have learned a lot throughout the years from artists that i have shared studios with or gotten to see work in person. Locally I work from time to time with some artists that continually help reset my bearings and decide what direction to go with my art. When I’m not working in my studio at home, I share a studio with a wildly talented group of potters on the west side at Leeward Community College. The instructor there, Russell Wee, is a phenomenal Raku artist. His pieces go for thousands of dollars and yet he is one of the most humble persons I know. Another close friend and mentor that I consider to be a master, is Ramon Camarillo. His throwing abilities are unparalleled. He can make a 2 foot vase the size of a Samoan toddler with just 8 pounds of clay. It’s amazing to watch him work. What I love about the dynamic I share with the great potters I know, is we all make exceedingly different pieces. Though I admire their work very much, I wouldn’t dare try to recreate what they are working on, and it goes without saying, I don’t see anyone else trying to do what I do. That is the nature of the craft. Potters are a rare breed. Even still, no two potters do anything exactly the same. The end results always end up completely different.

How is the Hawaii Pottery Scene?

It’s great. There are so many talented potters here.

Once a year we all rally together for a Raku festival in the North Shore. There are typically 50-100 Raku artists that participate in a three-day camp out that doubles up as a juried show. By the end of the three days all the artists lay their works from the weekend out on the beach. A guest artist then plays juror and selects his or her favorites out of the collection. That collection goes on display in Mark’s Garage Art Gallery in Chinatown for the summer months. Friends and family attend and we even get some foot traffic. It’s an awesome event that most of us Raku Potters look forward to each year.

Here in Hawaii, I don’t know any professional artists that make a living solely on the art they create. Certainly not potters! You have to teach, or open up shop, or by some factor, sell out to an industry. I think it has to do with Hawaii’s economy being largely funded by tourism, and in general, not having enough affluence and population. How many retail items do you see with a turtle or dolphin emblazoned on it, and people go gaga over it. To me that’s a desecration of the soul. And yet, my daily puzzle is how to compete with that! I don’t know how many times I’ve shared pictures of my pottery to people and they say excitedly, “you should go swap meet”!

Any advice to anyone who would like to do some research on Raku and or learn Raku Pottery?

Best resources = Google, YouTube, Wikipedia, Amazon, Public Library or local listings for Raku pottery classes.

As mentioned earlier, I highly recommend “The Mud-Pie Dilemma” by John Nance
I am also available as a resource. I have been known to demo re-firings on at least a few occasions!

Where can you be contacted for further questions or commissioned work?

Send me an email at rakiraku@gmail.com or contact me on Facebook. I love doing commissioned orders and have a lifetime re-firing policy if you are local to Hawaii.

01/4/13

Aloha Flow Flatland BMX

“Flatland is a freestyle BMX riding style performed on smooth flat surfaces that do not include any ramps, jumps, or grindrails. It is sometimes described as a form of artistic cycling with a blend of breakdancing.”

Full Article On Wikipedia

Here is the 808 Crew sampling their two wheel acrobatics.This video was shot and edited by the talented Bobby Carter.

Riders Include Scott Powell, Jesse Puente, Jean-William “DUB” Prevost, and Bobby K. Carter

01/3/13

How to avoid a fire fight at a Dim Sum Restaurant

Leave My Deep Fried Shrimp ALONE!

Do you remember the beginning of John Woo’s 1992 Classic Hard Boiled, when the brawl broke out at the Dim Sum restaurant? Choy Yun-Fat brandishing two hand guns and blazing away as someone took his deep fried shrimp? Not exactly the truth. In fact, that was a Tea- House, and there was no dim sum in reach. However, whenever I eat at local dim sum restaurants, such as Legend Seafood Restaurant, Royal Garden Chinese Restaurant, or Happy Days Seafood Restaurant, I feel that my lack of etiquette will sometimes bring about the City on Fire Works rage of the servers.
The guide bellow will not save you from torrents of Triad gunfire .Rather think of the guide as preventative maintenance where you can avoid an altercation all together.

Your Bullet Proof Vest: Aka The Essential Guide to Dim Sum.

01/2/13

Hawaii 70’s-80’s Punk Museum

I discovered this amazing site Hawaii’s Punk Museum.This site contains, pictures, flyers, and sound bites of the Punk Rock and New Wave Scene of the 70’s-80’s.

Punk Gig at Aala Park Gig 1986.

Although the site has many contributors.
Comrade Motopu seems to be the site designer and curator.
Motopu has really collected a worthy archive of Hawaii Punk/No Wave artifacts.

Enjoy the Canon.

Hawaii’s Punk Rock Museum

01/1/13

The Waters Of Kane

Translated
A query, a question,
I put to you:
Where is the water of Kane
At the eastern gate
Where the sun comes in at HaeHae;
There is the water Of Kane

The Waters Of Kane Mele is much akin to the Arthurian legend The Ballad Of the Holy Grail or a “Graal” in the works of Chrétien de Troyes”

The Waters Of Kane is a Mele from the Island Of Kaui the island which more than any other Hawaiian group retains a tight hold on the mystical and imaginative features that mark the mythology of Polynesia.

Credit given to Nathaniel B Emerson
Full Mele can be found at Sacred texts