The Years in Review PagelO

This Modern World 17 SENAToQ··OO "fOU REAU"( 1'HINK IT"S A 6000 1DEA To ELIMINATE Al.L (0/lPO/lATE TAr£S? ..........

Volume 5, Number 29, July 19, 1995

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Oahu's tropical jun les I.,; · have been overrun '- its · · � urban ones. Is it too late , · to save the island, or is uncontrolled growth in , ·. control? By CHRISTINE WHALEN /I

Pritchett

Club Scene

Its been 25 years since starting in August 1970. At that time the Century Ride was impressive with 40 riders and you carried your own refreshments or bought it along the way. It started at Mokuleia Beach Park toured the north shore to the windward side. The Bike Shop started at the corner of King St. and Cooke St. then moved to its present location that had a mango tree out back which offered shade and open air to escape the tiny store 1/4 its present size.

Our vision 25 years ago was to see more bikes than cars on the road, we're still working towards that goal. As the Century Ride has grown, with over 3,000 people, so have we with stores in Aiea, Hawaii Kai, Kaneohe and Maui. It's been, and will continue to be, a pleasure and honor to serve all who come to know us.

-- ------

We proudly support the following bicycling events

and organizations:

• BANKOH Tinman Triathlon • Hawaii Bicycling League

• Tradewind Cycling Team • Tantalus Time Trial

• Hawaiian Mountain Tour • Magic Island Triathlon Clinic

• Hawaii BMX Racing • Advertiser Century Ride

• The Stage Race • Tour of Hawaii

• Heavy Breathers • Bike to Work Week

• M.S. Ride • HeartRide

• Iron Kids • Maui Century Ride

• Maui Mountain Bike Club

HONOLULU AIEA HAWAII KAI KANEOHE MAUI Kahului . Maui 111 Hana Hwy.

Between Pensacola & Piikoi Near Cutter Ford 1149 South King Street 98-019 Kamehameha Hwy.

596-0588 487-3615t

2 • July 19, 1995 • Honolulu Weekly

Hawaii Kai Shopping Center

396-6342

Windward City Shopping Center

235-8722 877-5876

Letters

Yellow journalism Re: "Project W" by Robert M.

Rees (HW, 6/28). Simply, the despicable behavior

of the HNA, their editors, their lawyers and other cronies of that ilk has brought new meaning to the adage "Freedom of the press . . . belongs to those who own one" and ta.ken it to new lows. Much respect to the Weekly for continually expos­ing this villainy "to the light of day."

When will the people of Hawaii be relieved?

Dave Gonzales

Lighten up, Skip I feel I must write in defense of

restaurant critic Vrrginia Bennett after reading Skip Wolfram's nasty and overreactive letter (Hw, 7 /5). Pro­fessor Bennett has been a bona fide gourmet cook and aficionado of var­ious cuisines for many years and, having lived and worked in Europe, she does know the ingredients in a classic French dressing from first­hand experience in Paris.

Dr. Bennett's articles are based on the food and service at her table, as well as the occasional question put to the restaurant's management, which she would assume is telling her the truth. Her writing style may reflect her academic background, but if Mr. Wolfram is mistaking a dry wit for "self-doubt" and "incompe-

H O N O L U L U

Vol. 5, No. 30 July 19, 1995

Publisher Laurie V. Carlson Managing Edtor Ouistine Whalen Arts & Calendar: Editor: David K. Choo Assistant: Stu Dawn; An Critic: Nikki Ty-Tomkins Film Critic: Bob Green Theater Critic: Leroy Thomson Contributing Writers Marie Chittom, Steve Ditlea, Kevin O'Leary, Robert M. Rees, Curt Sanbwn, Mary Sano, Marilyn Wann, Lael Weyenberg, Bill Wood Copy Edtor Seth Markow Editorial Assistant Dale MacDiarmid Art Director Bud Linschoten Production Mmapr Jayson Harper Ad Designers Bud Spindt, Kelli Yanagawa Cover Illustration Linda Fong Contributing Photographer Dale MacDiarmid Cartoonists Matt Groening, John Pritchett, Slug Signorino, Tom Tomorrow Office Maaage,Malie Young Admilliatlalive Support Jennifer Ablan Cin:ulatlon Mmager Bill Danos Advertlelng Michael J. Cayen, Christine Flanagan, Carmen Gonzalez ClaNilled Sales Mmager MollyO.Hunt Ecltodlll ..... Jennifer Kimura, Noelani Kimura, Lael Weyenberg

A Member of lhe A_.A� A�ationof .Dll'nt,a• Alternative Ncwswccldics

ISSN #1057-414X Entire contents © 1995 by Honolulu Weekly, Inc. All rights reserved. Mamw:riptsshouldbe� by a se/f-ixldrrssed stamp«l mvelope: flooooilu Weekly =umes no respmsibi/ity for rmsolicited material. Subscription rates: svc monJJrs, $35; one }'l!W; $50. HonoluluWeeklyuavai/abkfreeof charge, limited to one copy per reader. Additional copies may be purchased al our <f!ice. No person may, without permission <if Honolulu Weekly, take more than one copy <if each Honolulu Weekly issue. 1200 College Walk, Suite 214 Honolulu, Hawaii 96817 Tel: 808 528-1475 FAX: 808 528-3144 INDEPENDENT, LOCALLY OWNED

tence," he needs to lighten up. No doubt all parties regret any misun­derstanding; so, Skip, be glad you 're employed again, take pride in your job and let this go.

Kerry Taggart

Bennett booster I am puzzled by Stephen Wolfram's

ad hominem attack on Virginia Bennett. Mr. Wolfram seems to believe that because Ms. Bennett's opinion does not agree with his own, she must be "an inexperienced and incapable restaurant critic."

I'm a long-time reader of the Honolulu Weekly, having taken a paid subscription when the Weekly first began publication, and I enjoy Bennett's reviews. She represents a fresh, down-to-earth point of view, and her columns are informative and entertaining. It's clear that she endeav­ors to be fair and to balance con­structive criticism with positive comments. With respect to her review of the Big Island Steakhouse, she was very kind. Three friends and I had lunch there about seven months ago to celebrate a special occasion. I had the pupu platter (spring rolls, wonton, etc.) and it was dreadful. I wasn't alone in this opinion. As friends do, some of us tasted each other's selections. Not one of us liked the food. (I can' t imagine Mr. Wolfram's response if I had written the review.) I hope Bennett will con­tinue to write for the Weekly.

Alberta Freidus

Seven minus two I was pleased to see Nikki Ty­

Tomkins' enthusiastic review of the Contemporary Museum "Biennial" show, which features the works of seven local artists (''Wild, Weird and Wonderful," Hw, 7 /5). I too enjoyed the show. However, upon complet­ing the article, I was disappointed to see that two of the seven artists, pho­tographer David Ulrich and sculptor Frank Sheriff, escaped the review­er's notice; Sheriff's work received a nameless reference in the opening paragraphs, while Ulrich received no mention whatsoever. Although I sus­pect this may have been the result of overz.ealous editing, I wanted to point out the possible oversight as these artists contribute substantially to the ''Biennial." In addition, as their work occupies the front-most gallery spaces, Weekly readers may think they have stumbled into the wrong show. It is a wonderful show, and all of the artists involved should be proud of their accomplishments.

Kim Dewey

Honolulu Weekly welcomes your letters. W rite to Editor, Honolulu Weekly, 1200 College Walk, Suite 214, Honolulu, HI 96817, or you can e-mail us at 71632.30@com­puserve.com. You must include your name, address and telephone num­ber ( only your name will be print­ed). Letters may be edited/or length or clarity. Please limit your letters to 200 words maximum if you do not want to see them cut. •

Pritchett WAIKIKI, ONE OF THE WORLl>,S

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HONOLULU

KAHALA • AIEA

,rWAIKIKI

e've seen a whole lot go down during the past four years at the Weekly - both inside and out­side our offices. When the Weekly first started, residents of one of the last remaining blocks of Waikiki jungle were being evict-

ed from their Tusitala Street homes. Our first cover story took a look at what was happen­ing and why.

Now, four years later, the building boom that forced that eviction is over, and that same street is filled with vacant lots, trash and cyclone fencing - a testimony to the "golden years" of foreign investment, when the cost of hous­ing just about doubled, making Hawaii even more impossibly unaffordable for local resi­dents.

This story of eviction and vacant lots is a metaphor for some of the major currents in the Hawaii economy and our local culture. Bank economists assured us that foreign invest­ment was a healthy thing for our economy, providing jobs and mortgage loans (don't you know, it certainly was good business for the banks). They didn't mention that the abun­dance of outside money corning in would dou­ble the cost of living for the rest of us. They didn't mention the displacement, loss of a sense of place or the toll that rapid growth and change take on the soul of Hawaii. This week's cover story takes a look at some of that damage.

In the past four years, Honolulu has changed politically, but not enough. We have a new governor, a new mayor and the threat - or promise, depending on one's stake - of pruned government budgets. Gov. Cayetano, saddled with Waihee's profligate spending bill, is doing his best to right a bad situation. Unfortunately, many of the same old political hacks are still with us in the Legislature and City Council, carrying out polttical shenamgans the same old way.

All the while. bit by bit the Weekly ha<; pulled itself up by its bootstraps - adding pages. employees. office space and computers, dis­tribution outlets and readers. We continue to provide in-depth coverage of both loca and national stories affecting this community. The Weekly is passed out at community associa­tion meetings, university classrooms, legisla­tive hearings and even 4-H Clubs. Recently, 2,000 copies of our Hana cover story were dis­tributed on Maui so that people there could learn more about the new owners of the Hana­Maui Hotel and Hana Ranch. We want to do more of this sort of reporting, and before this year is up, we'll add a staff position so that we can improve our local-news coverage.

Last month we were ranked by Pacific Business News as the second-fastest-growing small business in the past three years in the state of Hawaii. These haven't been easy years for many small businesses in the state, and we appreciate the support of both our readers and our advertisers, who understand what the Weekly brings to the local media mix. It's good to be the alternative, especially when times are rough and people are looking for alterna­tives to business as usual.

We have just completed a redesign of the

Weekly's opening "Calendar" page. It will pro­vide more "picks" than the old format along with a better graphic look. We have expand­ed ''Calendar" listings to include gay and neigh­bor-island events. The Weekly has added a "Club Scene" to round out our nightlife cov­erage.

In spite of proposed cuts to arts funding, Honolulu continues to improve its mix of arts and culture. Weeklies throughout the country work hard to promote, critique and develop the local scene. Honolulu Weekly is no differ­ent, and there is a palpable synergy between this newspaper and the arts, music and theater of Honolulu.

When the Weekly started in the summer of '91, our print run was 15,000 newspapers. We now print 36,000 papers, reaching over 65,000 readers at over 450 distribution sites. We've added Kapolei to our map and now reach most communities on Oahu. Next year we plan to reach a total readership of approximately 72,000, a growth of over 250 percent.

With your help we conducted another read­er survey. This survey helps us show our adver­tisers who you, the readers, actually are. Not too surprisingly, your collective attributes have aided us in convincing advertisers and adver­tising agencies to give us a try. Weekly read­ers tend to vote more than the population at large. You value education and continue to take classes and pursue learning throughout your life. You support charitable causes and political organizations like Hawaii Public Radio, the Life Foundation, the Honolulu Academy of Arts, Ka Lahui Hawaii, Hawaii Public Television. Now that we have some room to grow and our page count is usually twice what it was in 1991, we'll use other infor­mation from that survey to develop new fea­tures and stories.

This year the national media survey com­pany Simmons will include Honolulu Weekly in their marketing research for the first time Simmons is for print what Nielsen is for TV. Simmons does surveys for their clients (which include advertising agencies and various pub­lications), and, until now, we have been invis­ible. Inclusion by Simmons should help us enormously in having more resources to grow and develop the Weekly.

Over the years we've increased our staffing from three to 11 employees. We're working hard to make Honolulu Weekly a better place to work - expanding benefits, raising salaries, improving and enlarging office space, pro­viding training and better equipment.

I'm very proud of the hard work, energy and ability of our staff. Weekly newspapers are tough; there are long hours and stress. They are dedicated to producing a paper of high edi­torial and design quality. They create the words, the graphics, the advertising sales - and they create it every week without fail. Our staff invariably take the extra time and energy to do the best job they can.

We still have a long way to go, but we look forward to the changes each new week brings. Thanks for your support as we begin our fifth year! •

-Laurie V. Carlson

HONOLULU • KAHALA AIEA • WAIKIKI

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For the state 's new planning director, change is all within the "system. "

The Man

with the

Plan B I L L W O O D

reg Pai, sweatered against the chill of the air condi­tioning, greets a visitor to his Hemmeter Building office with an apology. He is embarrassed, he says, by the luxuriousness of the

place. He explains that the fourth-floor corner office was picked and furnished by his predecessor, Harold Masumoto, who was former Gov. John Waihee' s planning director. Pai also worked for Waihee, as a special assistant on economic affairs. But that was before. Now he works for Gov. Ben Cayetano, and he is planning director and things are dif­ferent. Among other things, there is less money to spend or at least more public concern about spend­ing. But the big change Pai talks about isn't in what's being spent but what's being bought. The bank­economist-turned-pu blic-servant gives the impression that for the first time Hawaii's taxpayers are getting something for their planning dol­lars. Pai doesn't directly criticize the previous planning director, a tough administrator known for what some thought was autocratic deci­sion making, but he goes out of his way to separate the present from the past.

There are probably still few peo­ple who are sure what the Office of State Planning is all about. For a long time the state's planning func­tion was part of what used to be called the Department of Planning & Economic Development. B ut early in his first term, Gov. Waihee reorganized that function into the Department of B usiness & Eco­nomic Development (later adding Tourism). Lost in the upsizing, Plan­ning was exiled to the governor's office.

State planning became pretty much what Waihee's choice as direc­tor, Masumoto, said it was. Now, still vaguely defined on the books, it's what Greg Pai says it is.

The first order of business is to build some respect. That means mending fences, left tattered in some quarters by the heavy-handed Masumoto. "Our job is to pull peo­ple together, to set direction and facilitate," says Pai.

Pai's comments are obviously designed to blunt some of the crit­icism he has inherited. But the oper­ative word in all he says about his office's new role is "system." He

says he has launched four new plan­ning initiatives since taking over in December.

The first is to develop a statewide planning system, tying in with the planning offices in the four coun­ties and reporting to a new planning council comprised of the governor and the county mayors. "This is a radical approach," says Pai, ''because it's so comprehensive. Its activities cover many departments at both the county and state level."

Still, there has been progress since the first of the year. An Executive Planning Council, consisting of the four county mayors, the governor and others, has met and won the par­ticipants' support.

The plan is ambitious, Pai con­cedes, given the shabby record of state and county cooperation in the past and the many advocates of home rule. "But if we accomplish nothing else, we' II have provided a vehicle for dialogue between the state and counties."

The second initiative is even more optimistic. It seeks to organize the state's budgeting function, includ­ing assigning priorities to funding projects. "No point in planning something if you won't have the money available to fund it," Pai explains.

The state's purse strings have always been jealously guarded by the Legislature, which isn't known for planning ahead. Pai concedes there could be problems.

The third initiative is in some ways still more ambitious. It calls for coordinating all the environ­mental activities of local govern­ment. "That's 40 to 50 programs involving 400 to 500 people work­ing in half a dozen or more depart­ments," Pai allows. It could amount to creating a sort of state Environ­mental Protection Agency that would have the authority to reach inside state land use and other reg­ulatory agencies when they deal with environmental matters. It would be involved wim regulation, enforce­ment, resource management, poli-cy making and education.

Pai claims this system would coordinate the activities of all the other agencies already concerned with environmental regulation and prevent overlap.

The whole system would report to the governor and result in im­proved efficiency for environmen­tal management, he says.

The final initiative concerns agri­culture. It's designed to help decide

PHOTO. DALE MACDIARMID

State Planning Director Greg Pai

what is to be done with the state's former sugar lands and aid their tran­sition to other ag uses. Pai says there will be a system, a sort of template, to apply to each situation as it occurs. "We want a system for Waialua, Ka 'u, Central Oahu, Lihue and all the other places where sugar is pulling out," he says.

With four sugar plantation shut­downs and two more looming next year, this planning function has more immediacy than the others. The planning office is helping coordi­nate activities of other state depart­ments - Labor, Health, Human Services and Business, Economic Development & Tourism primarily - to assist former sugar workers. "We want this system fully in oper­ation by next year, to help workers and their families in Ka 'u and Waialua," says Pai.

The state's top planner admits all this is a tall order. But he says he likes his job. He has no trouble jus­tifying it with some of his earlier gripes about state government. "My old concerns were largely social," he says. "And that's real ly what we're addressing now."

His economic training was real­ly on the planning rather than the statistics side of the profession. ''I'm a systems man," he says. "You gotta have somebody in government like that because government itself is a system."

Many of the problems confronting the state now are the result of a mal­functioning system, according to Pai. "Workers' comp, health care - these and most others are sys­temic problems," he declares, lean­ing forward in an overstuffed chair in his office. "It takes a planner to tell you that."

Pai thinks the solution is a con­stitutional amendment detaching the state government from the state economy.

The constitution ties the govern­ment to the state's tax revenues. When revenues grow, the state must grow, too, because the state has to spend aii it makes. ''We need to build stabilization into our revenues," says Pai, "so the state won't be caught in these expansion and contraction situations."

"The beauty of what we're doing is that it's all internal - within the administration," says the director. "I don't have to go to the Legislature for money and mandates."

Sounds like a well-planned gov-ernment system. •

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We have a problem: namely, a finite space - an island - whose limits haven't been acknowledged and whose resources are being exhausted by uncon-trolled growth. Can we stop the destruction of Oahu before it's too late?

n November 1979, National Geographic featured a cover story on our island's rapid growth which in its title posed the question ''Which Way Oahu?" After an account of the battles lost to developers and the hard­ships created by the increasingly exor­

bitant cost of life in paradise, the author concluded: "Diversification of industry, pro­tection of a fragile environment, balancing needs of farmers and developers - the prob­lems are many. Somewhere there may be an answer to each one of them."

Nearly 16 years later we still haven't found the answers; in fact, if anything, we're at more of a loss than ever.

At a time when some seem to have all but given up on Oahu as in any way "salvageable;' the Weekly decided to present some viewpoints on "the future of Hawaii" from a group of peo­ple who've given the subject some serious thought.

Most people would recognize we have a problem: namely, a finite space - an island - whose limits haven't been acknowledged and whose resources are being exhausted by uncontrolled growth. We can't keep feeding the demand for more housing, more jobs, more retail, more things, without some recognition

The median selling price of single-family homes on Oahu during 1993 was $35 8 ,500. The median gross monthly rent for Oahu rose from $27 1 in 1980 to $599 in 1990.

A survey taken in 1991 and 1992 reported that the largest items in the family budget on Oahu were housing (32 percent of total spend­ing), food (17 percent) and transportation ( 1 5 percent). In 1990, one-ninth of all Island res­idents lived below the U.S. poverty level.

What, if anything, is being done to keep Oahu from further degradation, societal as well as environmental? Who is addressing Hawaii's future? Is there anything we can do besides throw up our hands in despair? Can more com­munities - like the Waiahole farmers and the Sandy Beach Initiative Coalition - form alliances powerful enough to fight "the pow­ers that be"? Do isolated incidents of caring and consideration for this place form, togeth­er, a cohesive pattern? Are we taking care of the things that matter?

Some people are trying. Perhaps more than many of us realize.

At the brink of the 21st century, in an era of singular awareness of our environment and of our roles as caretakers of the place we inhab­it, we have an opportunity to determine our future.

At the end of the that eventually we'll run out of land, of water - and even before we reach that

B Y C H R I S T I N E W H A L E N 1 9th century, Anton Chekhov wrote: "Man

point, we will certainly ruin Oahu's beauty and uniqueness.

The statistics bear out what simple obser­vation tells us: We've grown by leaps and bounds in an incredibly short period of time, and the burden of development is weighing us down.

Hawaii's population in 1993 was about 1 , 17 1 ,600, compared to 964,69 1 in 1 980. Oahu1s population grew from 630,497 in 1970 to 836,207 in 1990. Land in residential use on Oahu increased from 22,600 acres in 1969 to 30,200 in 1992. In the same years, agricultur­al land declined from 88,900 to 70,000.

8 • .fuly 19, 1995 • Honolulu Weekly

has been endowed with reason, with the power to create, so that he can add to what he's been given. But up to now he hasn't been a creator, only a destroyer."

Man hasn't done much better in the last 100 years, but we'd like to think it's not too late for people to start using reason to create. We don't have the answers to the problems that confront the Islands, but we hope that by pro­viding a forum for some of the issues, we can contribute to a dialogue about where Hawaii's headed and how we'll get there.

he participants in the roundtable discussion were guests of filmmaker Victoria Keith, whose doc­umentaries include The Sand Island Story, Hawaiian Soul and, most

recently, Back to the Roots. Her current pro-ject, Living on Islands, provided the catalyst for the gathering. Her guests included Dan Ziegler, a soon-to-be-former director at Hawaii Public Television, who's collaborating with Keith on Islands; Arthur Getz, board president of Hawaii's T housand Friends, community activist and researcher; Charley Ice, member of the state Water Commission and chair of the People's Water Conference; Laurie Carlson,

the Weekly's own publisher; Pat Masters, exec­utive director of the Mutual Assistance Association Center (which works with youth, gangs, substance abusers, immigrants and refugees) and instructor in the political-science department at UH; Mitsue Cook-Carlson, who spearheaded Hawaiian taro festivals; Naomi Sodetani, filmmaker, currently working on a documentary on golf courses; Heather Giugni, a partner in Guniroa Productions; Elisa Johnston, publications director for the East-West Center; Neil Abercrombie, U.S. congressman; and Meleanna Myer, artist, teacher and filmmaker.

Keith: Let me just say a little bit about how this particular project came to be. Last year when we were working on Back to the Roots,

I was talking to some farmers. They were talk­ing about the fact that they've been [in Waiahole] for 20 years and still had no leases, no sense of security. Our conversation then turned to secu­rity and stability and how they are such impor­tant factors in life, but they're not part of the type of economy and world we live in. That whole sense of stability in the sense of pre­dictability - knowing you can be in that place and stay in that place - is a factor that's kind of missing from our lives. Anyway, this one farmer who talked about how they kept getting bounced around, from Waikiki - they lived, I think, where the Hilton Hawaiian Village is and were evicted. Then they went to three or four other places and ended up farming out in the Salt Lake area, where they built the Castle Ice Park, and they had to move again.

It got me interested in that idea of limits. Just look around: The Islands are very finite in all of the resources they have. Yet all of our uses and demands continue to grow with no thought of limiting.

Ice: Back in the early ' 50s when the Democratic Party was trying to figure out how it was going to gain ascendancy, it decided what it needed was an economic engine that would supplant sugar, so in a sense we've come full circle. Because what they picked was tourism, and I attribute a lot of what we see that we don't

j

l.

like to that decision. I think it's a big mess that we've gotten ourselves into, and the sooner we can come up with an alternative, the bet­ter.

A Solution in Sovereignty?

els of self-determination: "com­plete independence" vs. a "nation within a nation." The form adopt­ed by a sovereign nation of Hawaii is central to the kinds of policies that would be adopted regarding foreigners, including U.S. citizens already living in the Islands.

back to the days before the over- population. throw. "The citizens of the inde- Laenui believes that an inde­pendent nation of Hawaii were pendent nation of Hawaii will need not defined by their racial lineage to limit the number of noncitizens but by how they saw themselves in order to protect natural in relation to Hawaii. As a result, Keith: There's commerce being conducted

just about everywhere. It's hard to get into nature, to have a sense of privacy or a sense of oneness with this environment, without there being some sort of trade going on; there isn't a sense of being alone with nature. That sounds a little grander than I mean it to sound - you used to be able to go to Chinaman's Hat, and there would be no one there. Now there are jet-skiers in Kualoa. Remoteness is not there anymore, that ability to connect with nature - that's personally one of those things that I feel. Going to Diamond Head, there are peo­ple renting flashlights. I know in Lanikai there are groups of bikers [tourists] who go in -and this is a beach that doesn't even have bath­rooms, the infrastructure just isn't there. It's that feeling of pervasiveness.

It could be called "two guys on an island," a motif that cartoon­ists often use to poke fun. Two scraggly, shipwrecked characters sit on a speck of sand in the mid­dle of the ocean, a single palm tree between them. Rather than devise a plan for being rescued, they argue about some thoroughly triv­ial subject, such as Madonna's lat­est coif or the correct wine to serve with fish.

you had haoles, Japanese, Chinese resources, control the costs of - many different races - who social services, ensure affordable were Hawaii nationals and accept- housing and education, as well as Poka Laenui (a.k.a. Hayden

Burgess), director of ed as citizens within protect national integrity:

Carlson: The Nature Co. represents to me the sort of boutiquization of nature, and I think Hawaii has also been commodified. One thing about Hawaii during the '50s was that you could actually find things that were made here, and you actually had a sense of place.

Johnston: I think that the sense of place you're talking about is really important. There was a nice exhibit this year called ''A Sense of Place," about the distinctive architecture in Hawaii, most of which was later bulldozed. And there's very little left around here that looks like it's the product of a place that knows what it is. In the early part of the century, there was a very distinct style; you could see it in houses all over Kairnuki. Now it's pretty much gone. For many years my husband and I have been salvaging things from houses that were going to be bulldozed, and there's not much left to salvage.

Continued on Page 12

f

That scene could be expanded exponentially to get a picture of the debate swirling around the Hawaiian sovereignty movement. But this argument is not the least bit funny, and the outcome will be far from trivial. At stake -rather than a patch of sand and a palm tree - is the fate of the Hawaiian archipelago, a 200-rnile economic zone and almost a mil­lion people.

And as the various groups debate the political shape that a sovereign Hawaiian nation might take, apprehensive Mainlanders from several continents are won­dering, ''What about me?"

It doesn't take long for new arrivals hoping to make Hawaii home to wonder whether sov­ereignty means that not only might their families back home be denied entry, but before the immigration door slams shut, whether some already here might be pushed out­side.

Much of the sovereignty debate centers around two different mod-

X P E R I E N C E

T H E

the nation." the Institute for the Advancement of Hawaiian Affairs, says that Hawaiians will be able to make those decisions only if they achieve complete i ndependence from the United States.

As the various groups debate the political shape that a sovereign

Laenui's proposal would neither exclude those with­out Hawaiian blood, nor would it neces­sarily reserve citi­zenship for anyone claiming Hawaiian ancestry. "Because a Hawaiian within an independent nation is not defined by his race but by his national allegiance," Laenui says, "you can have a full-blood­ed Hawaiian who may not be allowed into Hawaii.

"Under those ' nation within a nation' models," Laenui says, "we would remain within the American consti­tutional structure, and the Constitution has already pre-empted to the Congress deci­sions concerning inter­state travel and foreign relations. Those mod-

Hawaiian nation might take, apprehensive

Mainlanders are wondering, "What about

me?"

els have absolutely nothing to do with immigration."

Active in the sovereignty movement for more than 20 years, Laenui , who is also an attorney, has proposed several specific plans for dealing with immigration into an independent Hawaii. The core of his propos­als is a belief that Hawaiian cit­izenship should be dependent on pledging "national allegiance" to Hawaii - and to no other nation.

He says it's an idea that goes

''Turning the coin on its head;' he con­

tinues, "because a guy has under­taken Hawaii citizenship, he needs to be provided and afforded a right to reside here."

What about those who want to live in Hawaii but not become citizens? Laenui say he realizes that "you can't just toss an idea like nationality on a person and force them into a decision." He insists there would still be a place for foreigners in Hawaii, but their numbers would be limited. He has proposed setting that limit at no more than one-third of the

M U S I Ke i th I ka i a - Pu rdy

Leading Tenor, Vienna State Opera (Kamehameha Schools Class of 1 975)

Created by one of the masters of contemporary animation, Jan Svankmajer, this Czech film por­trays an unsettling world combin­ing live action with deftly animated toys and objects. The director has the uncanny ability to make visible magic of the mind's invisible .

featured in a program of French Opera Composers in Opera and Song

Sunday, July 30, 1 995 3:00 p.m.

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Accompanied by the distinguished Swiss pianist Robert Helg

No admission charge. For information call 842-8356.

Concert is presented by Kamehameha Schools Bishop Estate in cooperation with the

University of Hawai'i, Miinoa. Sponsored by the

Charles T. and Beatrice Parrent Distinguished

Scholar/ Artist Program.

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longings.

Veteran documentary filmmaker Robert Kramer returns to Vietnam 23 years after creating The People's War to record the country today. Interviewing people from many walks of life, he compassionately captures the mood of Vietnam re­building, facing the influences of industrialization and memories of a bitter war. Jul 30 at 1:00 pm, Jul 3J at 7:30 pm

Considered late director Maria Luisa Bemberg's most ambitious film, this adaptation of a book by Octavio Paz is a magnificient por­trayal of 17th century Mexican poet and nunJuanalnesde la Cruz. One of the greatest poets of the Spanish language, this free-thinking writer entered a convent to pursue her passion to write and developed an intimate relationship with the vicerine who s onsored her.

• Honolulu Academy of Arts 900 South Beretania St. (808) 532-8700 532-8765

"Foreigners;' he says, "over a peri­od of time will demand a politi­cal voice and economic control. But we are not going to immedi­ately set a cut-off level, and if you fall above it, we're gonna kick you out of Hawaii. Let those who are here stay, but let's not bring in any more."

When an independent Hawaii reaches its one-third limit of res­ident foreigners, would it be pos­sible for anyone to simply claim citizenship and be allowed in? Not exactly. Imagine a kettle repre­senting the total population that the Islands could support. Laenui suggests a hierarchy of eligibili­ty for citizenship. "Who are we going to throw in this kettle?" he asks, and then answers his own question: "I would say every Native Hawaiian who can trace their ancestry to a time prior to the 1893 overthrow becomes immediately eligible for citizen­ship, then non-native Hawaiians who can also trace their ancestry to Hawaiian citizens, then every child born in Hawaii, and every person who parented a child born in Hawaii would be eligible."

Dale MacDiarmid

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CHEWY BAGELS

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July 19, 1995 • Honolulu Weekly a 9

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July 31 , 1991 :

The Return of Kaho'olawe B ack in July 1991, then­

Senior Editor Julia Steele, . reported with Rowland

Reeve on the future of Kaho'olawe. President George Bush had issued a directive halting all mil­itary maneuvers, and a Conveyance Commission had been established to recommend a transfer of owner­ship process from the Federal gov­ernment to the State. Ultimately, however, authority rested in the fed­eral government's hands leading Steele to wonder, " is Kaho'olawe really safe?"

Happily, the Feds did follow the Commission's recommendations. The Conveyance Commission (which Walter Ritte Jr., a Kaho'olawe advo­cate, said was created to get "some­body elected into office") was dissolved. Title for the island was transferred to the State of Hawaii' to be held in trust for a future "sovereign native Hawaiian entity. " And a new commission, the Kaho'olawe Island Reserve Commission, was created to preserve Kaho'olawe as a Hawaiian cultural reserve.

The Commission's challenges are monumental. According to Act 340, they must preserve and practice Hawaiian culture on the island, pro­tect its archaeological, historical"' and environmental resources, rehabili­tate and revegetate the land, and the vague duty to "educate"; all with sever physical limitations. Unexploded ordnance (UXO, i.e.: bombs) is still a debilitating reality. Full scale rehabilitation cannot safe-1 y begin until all UXO is cleared away. The Navy will issue a two tier cleanup timetable once the Commission has issued its Land Use Plan designating cleanup sites and depths. A deeper problem is the topo­graphical condition of the islaf!d.

Before the arrival of Europeans, Kaho'olawe had Sandalwood forest and natural wells which maintained enough ground water to support a population. Through deforestation from blatant plundering of the for­est, the introduction of foreign species like goats, and 50 years of military action, the wells have dried up or become polluted, and the original ecology of Kaho'olawe is unrecog­nizable. One of the Commission's tasks is to decide a revegetation pro­gram for the island, but it eill take decades before even a semblence of Kaho' olawe's original forest is recov­ered. In the meantime, water needs to be shipped to the island.

Funds for the restoration of Kaho'olawe are coming from the Federal government. $400 million will be issued in increments over a ten year period: 11 % going to the Commission, and the rest going to the Navy for ordnance cleanup. It is hoped that the Navy will use some of its funds on revegetation programs.

The Kaho'olawe Island Reserve Commission will be holding a series of public hearings on every major island starting this week (see sched­ule below). Suggestions from the meetings may be used in the final Land Use Plan for the island. The draft Land Use Plan is available in all public libraries.

Kaho'olawe Island Reserve Commission's Public Meetings:

Wed., July 19, Oahu, Leeward Community College

Mon., July 24, Hilo, UH Campus Center

Tue., July 25, Kailua-Kona, Hale Halawai

Wed., July 26,J<auai, Community College dinningroom

Thu., July 27, Maui, County Council

Call 586-0761 for more informa­tion.

February 19, 1992 :

Koa Controversy

In February 1992, we ran a cover story on Hawaii's loom­ing koa-wood shortage, writ­ten by Curt Sanburn and

entitled "Forests or Furniture? The Koa Controversy."

Our story rported industry pre­dictions of severe shortages of avail­able koa wood by the end of the century. It outlined the on-going degradation that Hawaii's once plen­tiful koa forests have suffered over time; and the critical role that koa forests play as habitat for endangered native birds. The story cited instances of "koa mining" on private land, as well as k-ea-industry pressure to open up public forest lands, where koa is still plentiful, to logging. The stor highlighted the beginnings of a refor­estation/forest management ethic among landowners and state foresters, and concluded with the notion, pro­moted by some environmentalists, of a consumer boycott of koa prod­ucts.

Am organized boycott never mate­rialized. Clear-cutting of old-growth koa continues, according to reports, on at least one plot of forest near Kona now owned by the Pacific Isle Woods company, which produces koa picture frames.

A known car-thiefg and tree­poacher ius suspected of cutting fdown koa trees on public land and then trying to sell the precious lum­ber to woodworkers. The notorious thief is also suspected of having stolen, in the dread of night, .a rare kou tree fropm a public park in Kailua.

A landowner on the B ig Island reported koa trees being cut on his property and milled on-site with a portable mill.

According to John Clancy at Martin & MacArthur, a major sup­plier of koa lumber and finished koa furniture, the market cost of koa lum­ber has gone up 30 per cent since 1992, and the quality of the wood has deterioartes.

However, despite these dire reports, things are looking better for the trees: Hawaii appears to be headed toward development of a sustainable forest industry, utilizing marginal sugar lands and pasture lands both public and private.

The state Division of Forestry and Wtldlife (DOFOW), in concert with large landowners, envi­ronmental groups and the Hawaii Forest Industry Association (HFIA) is working to put in place legislation that will encourgae ;landowners to invest in large-scale reforesta­tion. Major roadblocks to pri­vate investment include the state's current property tax code, which taxes much higher rate than graz­ing or pasture land; and the landowners' long-term fear that, once they grow a forest, theyt won't be able to log it legally because the new forest may have become a habitat for protected endangered species.

Michael Buck, manager of

10 • July 19, 1995 • Honolulu Weekly

This issue marks the Weekly's fourth birthday. Another 52 tales told by

staffers and contributors to add to the many that came before. Last July, we started trqcking developments in some of the most interesting and newsworthy stories the Weekly had published in its first three years . This year we continue

that tradition with a look at . . .

cinctly: "If you were a landowner who had to pay higher property taxes for forested land, and you wanted to plant koa, and you had no assurance down the line that you could cut any trees, would you invest in planting koa? No, you wouldn't."

Even with the legislative hurdles, some landowners are forging ahead, experimenting with different forest­management techniques in an effort to balance the koa forest's function as habitat for endangered species with its value as a sustainable economic and cultural resource.

Kamehameha Schools/Bishop Estate, which halted active logging on its property four years ago, has reforested about 1 ,600 acres of degraded forest land since 1977. In one plot, where the koa forest canopy was re-established, foresters count­ed 47 different species of plants that took hold beneath the koa, evidence that a multispecies forest ecology can be cultivated.

On Maui a 50-year-old planted koa forest will be the subject of study by scientists and foresters to deter­mine the health and biodiversity of a relatively mature, cultivated koa forest.

In other developments, the HFIA now sponsors the annual «woods of Hawaii" show, a statewide juried woodworldng showcase that promotes Hawaiian woodcrafts and conserva­tion of rare native woods. The show prohibits the use of solid-wood koa and several other prestigious and rare native woods.

On the Big Island, owners of a por­tion of McCandless Ranch are work­ing in conjunction with the U.S. Fish and Wildlife Service and the Nature Conservancy of Hawaii to establish a 5,�acre National Wtldlife Refuge encompassing one of the most impor­tant remaining koa forests and bird habitats in the state. Several adjoin­ing property owners are also involved. The project, according to Alan Holt of the Nature Conservancy, is a "top priority" · of the Fish & Wildlife Service and Hawaii's congressional delegation. Federal funding for the project has not been allocated. The hurdle? In a word, Newt.

April 19, 1992: Sharks Three summers ago Weekly

reporter Mary Sano waded through the tiger shark hys­teria that had.hit the Islands

, after what seemed like a flurry of attacks on residents. A frenzy of dis­senting opinions surrounded the obvi­ous question, Should the state hunt large tiger sharks in Hawaiian waters

to lessen the possibility of more attacks?

State Rep. Joe Souki and Councilmember Leigh-Wai Doo answered yes, even using the non-PC word "eradicate." Some scientists answered that a limited hunt would be a good idea; others said it would be useless. Some ocean recreation­alists called for aggressive action from the state; others claimed they knew and accepted the risk of playtime in the ocean. Environmentalists said to leave the sharks alone, and some in the Hawaiian community agreed, ask­ing for cultural sensitivity regarding respect for aumakua (ancestral fam­ily gods that may be in the form of sharks).

To address these concerns, the Shark Task Force was formed, led by Bill Paty, former chairman of the state DLNR (Department of Land & Natural Resources). Other members included representatives from the National Marine Fisheries Service, the Waikiki Aquarium, scientists from UH, the Hawaiian community and others. Their answer to the problem was to conduct small-scale hunting efforts, targeting large sharks (usual­ly tiger sharks) specifically in the area where an attack occurred.

In the three years that followed, the shark-attack factor stayed fairly con­stant. There were 1 1 attacks, IO caus­ing injury and one in which a shark was confinned to be the cause of death.

In November of 1992, 1 8-year-old Aaron Romento was attacked in clear, shallow water, only 30 yards from shore while body-boarding. He died of blood loss and shock from the injuries to his leg. Public outcry urged the task force to change its policy. Instead of waiting for a shark to become a problem, sharks that are 8 feet or larger would be selectively killed. Some local fishermen, how­ever, had already taken that respon­sibility into their own hands.

John Naughton, a biologist with the National Marine Fisheries Service and a core member of the Shark Task Force, says that in the last three years, approximately 70 large sharks have been taken from Oahu waters by pri­vate fishermen. He thinks that num­ber is too large for ecology's sake, but it may be the reason there have not been many attacks on Oahu in the last three years.

Shark researcher Kim Holland dis­agrees. "It's impossible to tell any­thing in only two or three years of data," Holland says. ''Taking 70 sharks is a drop in the bucket. The pool of sharks is huge."

Thanks to $20,000 from DLNR and $60,000 from Sea Grant, Holland

and his Shark Research Committee are conducting tagging and tracking research on tiger sharks around Oahu, the only such project in the world. And indeed, their findings have been of great interest worldwide - Hawaii is not the only place with shark prob­lems.

''Tigers travel great distances: Their home range [ cautiously translated as "territory"] may be 30-40 miles," Holland says. ''There are a lot of tigers - always have been, always will be." The team is learning how little is known about shark behavior. For instance, it is not known how fluid a population of sharks is in a given area. What all of this means is, if there are a lot of sharks, and they are moving about, sometimes for great distances, it might be useless to hunt for a shark right after an attack. The guilty crea­ture may be on its way to Molokai by the time the hooks are set.

Naughton, on the other hand, gives his three reasons to keep the policy of selective fishing: "It does make an area safer when big ones are taken out - it's common sense," he says. "It gives the public more confidence when they see something being done. And it gives us good scientific evi­dence about feeding habits [through stomach contents]."

As of September 1993, the Shark Task Force was officially disbanded, though members keep in communi­cation with each other and are "on call" in the event of an attack. It has been fairly quiet lately, the last fatal attack being on Romento in '92.

If they can receive more funding, Holland and his team of researchers may discover more useful informa­tion and help to clear the murlcy waters surrounding shark behavior.

Randy Honebrink, education spe­cialist at the state Division of Aquatic Resources, says, "If we need [money for shark research], I'm sure we can find it. Hopefully, it won't be a situ­ation where something has to happen before anything is done."

January 13, 1993 Hawaiian Sovereignty N early three years ago,

investigative writers Derek Ferrar and Julia Steele provided a thor­

ough history and discussion of the plight of Hawaiian culture and the strengthening influence of those sup­porting (and opposing) sovereignty.

The story (picked up by the Utne Reader) concluded with a perhaps prophetic statement by Poka Laenui that the matter might not be an issue-

du-jour but would result in "educa­tion . . . commitment . . . action, and then there'll be no stopping Hawaiian sovereignty."

T he notorious Hawaiian self­defeatism when it comes to politics seemed to change with the tremen­dous victory of the Kaho 'olawe Ohana and then with the 1993 cen­tennial of the overthrow of Queen Lili 'uokalani.

Thurston Twigg-Smith, grandson of the Committee of Safety's Lorrin Thurston, galvanized the Hawaiians when he wrote during the centenni­al, "The overthrow of the monarchy and subsequent relationship with America are the best things that ever happened to Hawaii."

We noted only a year ago ("The Politics of Sovereignty;' HW, 7 /14/93) that prospects for Hawaiian self-deter­mination seemed on the verge of a breakthrough subject only to the pol­itics and fractions of the Hawaiians themselves. It appeared the sovereign­ty movement had at last gained a cohesive critical mass.

Now, however, the sovereignty movement has fallen momentary vic­tim to its own centrifugal and internecine forces. The Hawaiian Sovereignty Elections Council, faced with cuts in state financial support and with strong opposition from Mililani Trask's Ka Lahui, has post­poned the plebiscite of Hawaiian vot­ers. T he Elections Council, due possibly to Ka Lahui's early politi­cal support for Ben Cayetano, has not been helped along by the current administration.

Increasing divisiveness among activist Hawaiians has been com­pounded by the antics of Dennis "Bumpy" Kanahele. In spite of efforts by Dr. Kekuni Blasidell and others to stop him, Kanahele declared inde­pendence for his Sovereign Nation of Hawaii. Kanahele's land came from the state's Department of Land & Natural Resources and was a pay­off to get Kanahele's supporters off Makapuu Beach, where they had set up squatter shacks on one of Oahu's most visible tourist beaches.

Kanahele now maintains that his 63-acre Waimanalo empire can offer international sanctuary to fugitives in the style of Robert Vesco in Cuba. Even the most ardent of activists have found it difficult to defend Kanahele's assertions.

As a consequence of these and other events, a new and more somber mood was very much in evidence at this year's Iolani Palace gathering designed to protest the July 4, 1 894, procla­mation of the Republic of Hawaii by Sanford B. Dole.

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Turnout for the event, even account­ing for the heavy rain, was disap­pointing. Many of the traditional leaders were conspicuous by their absence. One long-time activist who didn't attend said she was just too tired. She wanted to spend time with her family. Bumpy Kanahele was there but, in the manner of a Hollywood celebrity, surrounded him­self with a phalanx of T-shirted secu­rity guards.

Further, there appears to be a grow­ing lack of interest in sovereignty among what some describe as the "silent majority" of the 220,000 Hawaiians in Hawaii. Many believe that if a plebiscite were held today, the "silent majority" would declare themselves opposed to the pursuit of sovereignty. There is speculation that opposition to a plebiscite by some activist groups is based on their per­ception that the vagaries of self-deter­mination are better avoided.

The struggle is not over. It only has taken yet another twist in its cycli­cal up-and-down progression. However, the difficulty of what lies ahead was summed up in the closing remarks of Poka Laenui at the July 4 event. "Our nation never dies," said Laenui to a crowd of only about 1 50 familiar faces, ''until it's dead in the soul of every Hawaiian."

July 28, 1993: Space Daze T wo years ago, Pat

Tummons, editor of Environment Hawaii, reported on the Waihee

administration's push for a spaceport in Ka 'u on the southern coast of the Big Island.

The administration had spent mil­lions on PR to promote the idea while ignoring demands for information by Ka 'u residents. The Legislature cre­ated an Office of Space Industry (OSI) to help promote the port and hired Thomas B. Hayward as "space czar," a title that paid $ 1 25 ,000 a year. Hayward took people out to dinner in Japan while people in Ka'u wait­ed to see an Environmental Impact Statement (EIS). The EIS was due out in mid-1989. At the time of the article, July 1993, the EIS was still at large.

Since then, however, the spaceport proposal has died without so much as a sonic blast. Public opposition was finally heeded with the issuance of a not-very-supportive EIS. Resi­dential concerns over the conse­quences of accidents ( common in the space industry), noise and air pollu­tion were validated by the EIS. The OSI dissolved, and the state auditor,

,4,,,:; ti9 3 • � s;� 1979

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July 19, 1995 • Honolulu Weekly • 11

I

Four Years of Weekly News Marion Higa, issued an investigation on the office in 1995.

Riga's scathing 78-page audit reit­erated what Tummons had reported back in 1991. It reads: "[The] OSI made little effort to contain costs . . . . [Hayward's contract] resulted in lit­tle or no benefit to State taxpayers. . . . Over a four-year period, the State paid Hayward approximately $600,000. Today, five years later, no foundation for a spaceport or space­related activities is evident."

March 16, 1994: The Molokai

- Pipeline

W hen Kevin O'Leary reported a year ago on the Molokai irrigation pipeline, he described

stacks of pipes left lying next to a 9-mile trench gouged into Molokai's Central Plain.

A year later the pipes lie there still, rusting next to the partially overgrown trench, a depressing red scar that tears across the island. Hampered by two lawsuits, Kukui Molokai - a subsidiary of Tokyo Kosan, the builder of the pipeline - has not worked on the pipeline for two years.

The West End of Molokai ( owned in large part by Tokyo Kosan), with its pristine beaches and sunny weather, has long been slated for massive resort development. The East End Highlands are the island's aquafer system, accumulating up to a half-billion gallons daily in average rainfall. Connecting the two areas is the Central Plain, on which rests the Ho'olehua Homestead, a growing residential and agricultur­al producer.

Molokai has a sustainable water resource base of 39 mgd (million gal­lons a day), 7 of which presently go to the Central Plains for the Ho'ole­hua Homestead's residential and agri­cultural needs. The Homestead projects a future need of 20 mgd as they develop diversified aquaculture. When Kukui Molokai began to install the 24-inch-diameter pipeline with a 20-mgd carrying capacity con­necting the West End directly to the eastern aquifer, residents were alarmed. They questioned the valid­ity of diverting water to the West End for three new golf courses and 600 new luxury homes. The whole pro­ject threatened to divert limited water from homestead development and agriculture and deliver it to tourists in a resort area.

The water Kukui Molokai has used to date comes from the main reservoir of the Molokai Irrigation System (MIS), water they must fil­ter before using. In 1973, Kukui Molokai signed a joint agreement with the state and the Department of Hawaiian Home Lands (DHHL) to be off the MIS ( a section of which runs under DHHL land) and be on its own pipeline by the end of 1995. Because of this agreement with the DHHL, Kukui Molokai became con­tractually bound to build its own pipeline. Using its own water line directly connected to the East End mountains would also free the resort area from needing to filter their water.

Since the pipeline has not been built, however, Kukui Molokai applied to the State Water Com­mission for the continued use of MIS water. (Their current use is 1.1 mil­lion, and they applied for 2 mgd.) On March 8 the Commission issued a two-tier decision, the first limiting Kukui's water use to 0.8 mgd until they provide written justification of their water uses and losses. This lim­itation was issued because of com­munity allegations that Kukui wastes 0.3 mgd in its MIS water-filter sys­tem. The second phase of the deci­sion is to review Kukui's request for 2 mgd once their justifications have been submitted. The Water Com­mission is meeting on Molokai September 27 to review the appli­cation, but in the meantime Kukui has filed suit against the commis­sion for restricting their use to 0.8 mgd. - Why hasn't the pipeline been built? The DHHL refused use of their land for the line, so Kukui Molokai began construction on private property -courtesy of the Molokai Ranch -around Homestead land. Part of the line was being laid on the edge of a gulch, which, unless carefully grad­ed, could cause major erosion. Be­cause the land was private property, however, no Environmental Assess­ment (EA) was required. Kukui reached a stumbling block in the shape of a 500-foot stretch of state land on their projected line. The DLNR does require an EA for build­ing on state land.

In January 1995, Maui County issued a stop-work order on the proj­ect for grading violations. Simulta­neously, the Maui Public Works, the Army Corps of Engineers and the Department of Health were investi­gating the project. In February 1995 the DLNR rejected Kukui's draft EA, which covered only the 500 feet of state land, and is now requiring an EA that looks at "the cumulative and secondary effects of developing the pipeline."

Now the ball is in Kukui's court. They cannot build without DLNR approval, and they cannot get the amount of water they say they need through the MIS. Two lawsuits have been filed, one state and one federal, by the Sierra Club Legal Defense Fund on behalf of the Molokai Chamber of Commerce, Ho 'olehua Homesteaders Association and Hui Ho'opakele Aina. A federal judge has agreed with the plaintiffs' charge that the project is in violation of the Federal Clean Water Act, and a trial is set for August. The three Molokai groups also have a state lawsuit on file to ensure that if the pipeline is not built, Kukui restores the site to its original condition.

There are a lot of people waiting for Kukui Molokai 's next step. If nothing else, the group has certain­ly learned that the people of Molokai are a force. In the past they've been able to stop construction of the Highlands golf course and the Puko'o development project. It's possible that they've stopped this, too.

Bob Green, Kevin O'Leary, Robert M. Rees, Curt Sanbum, Mary Sano, Lael Weyenbe,g and Christine Whalen contributed to this report.

12 • July 19, 1995 • Honolulu Weekly

From Page 9

Maxed Out Carlson: I was out at McGrew Point this year

looking toward Pearl Ridge, and it is the ugliest strip of land in Hawaii, and I just thought, "No one notices and talks about this." It is so ugly. Strip mall after deteriorating strip mall. Cars rusting by the side of the road. It's really gotten hideous and no one talks about it.

Giugni: Somebody was talking about the Ewa plain. I mean, the Ewa plain is a toilet bowl. When you talk about communities, communities are built around people; thriving communities are built around factories or railroad stops or things like that. The community in Kapolei is built out of greed, and what we're all talking about is greed. It's nothing else . . . . And who do you have to get to? You have to get to the developers who are build­ing the ridges. I mean, the developments on the ridges are outrageous. Every piece of land is gone.

Abercrombie: There are things that can be done, if people zero in on specific things they want to get done.

Myer: I'll tell you honestly, when Emmett [Aluli] some 20 or so years ago said he had this idea about this island [Kaho'olawe], I mean, honestly, he got no support from our family. Everyone thought he was crazy. But I'll tell you, to watch him and his dedication all these years and then to be at that cer­emony when these guys actually gave something back . . . In my lifetime I never in a million years ever thought I'd see that. Going to that island changed my whole life. At 4 o'clock in the morn­ing, freezing on the beach, wondering where the hell I was going and being asked to jump in the pitch-black water to swim to the beach with this bonfire. How remarkable. The reason I'm bring­ing this up is, like Neil said, if you have a focus on something - I mean, this guy had an agenda. His agenda was to get this island back. And come hell or high water, he showed up once a month with whomever he could drag over there.

built, what are we getting? What are we develop­ing?

Ice: Is it possible that the sense of apathy or frus­tration or whatever you want to call it that we sense, the dissolution of the bonds of community and so on, is to some extent the product of how we are taken over by the media's perception? Because I also sense that there are all kinds of people who are very quietly going about the business of cling­ing to those things that really are important, and there are all sorts of things that are actually build­ing out there that never get any coverage, and yet I think there's some kind of fertile ground for all those stories. If anyone knew they were happen­ing, they might gain acceleration .

Ziegler: There's a syndrome of going to the demonstration on that issue and missing what they're doing while you're there. If you're battling them on that level - and while you're battling them, they're doing this back there. Who are they? They're out there; this is not a conspiracy theory. Because there needs no conspiracy. The conspiracy is own­ing more, is greed, greater wealth. It's no more complicated than that. It's a lack of a sense of lim­its, because it's a belief of unlimited growth, that unlimited growth is possible, that nature is con­querable. That's the conspiracy. You don't have to have multinationals talking to each other, they're in bed together by their very nature. The question is, How do you fight that battle? You can' t fight them on a case-to-case basis.

Keith: Is sovereignty something that should be factored into this conversation at this point? We say we can't control so many things because the Constitution guarantees this right and that right, but it seems as though - somebody might want to talk about that - it seems sovereignty might be the answer we can't provide.

Myer: It's not just a Hawaiian thing. The whole notion of exercising sovereignty is a really viable tool because it's a current issue, but I could actu­aly see it being a very powerful medium for all of

· us, because we need to be sovereign of these islands; i.e., somebody's got to sort of blow this moderni­ty idea of infinite resources right out the window and say, "Hey, the buck stops here."

Getz: The buck circulates here (laughter)._ We need a place-based Cook-Carlson: That's a great

metaphor: Get your island back.

Abercrombie: The difficulty wasn't to get the military to give it up so much, the difficulty was to get people who were willing to stand up with Emmett and other people to do it. It wasn't that [the military] were so strong, it was that the public in Hawaii took so long to get behind it.

Somebody 's got to blow

this modernity idea of infinite resources right

economics, a place-based culture, a place-based politics. And I think there are little clues as to how far away we are from it in lots of areas. At Sears I remember hearing some­one say that the job to have now is to own and operate your own semi/tractor-trailer because there weren't enough tractor-trailers going from the wharf to the Waikele Shopping Center, there was so much demand This is cargo cult writ large. It's like, if you can' t get enough trucks going back and forth, some­thing's really awry. So, the econ­omists talk about import substitutions, but if you really accul­turated so that the house, the food,

Cook-Carlson: I was noticing when I first started to see the arti­cles about the island's return, I was thinking of how long it had taken. Koho'olawe is a marker of how long it takes, how long it might take to make something turn around. It's really like this battle-

out the window and

say , "Hey , the buck stops

h " ere .

ship, turning around. I think of staying the course, and Emmett's a good example, and there are other examples, too. I think in terms of a message: the power of one person, the power of people - that's a marvelous piko for all of us.

It's what's happening this time again in Waiahole valley - that coming together and making a stand.

Keith: That's what we seem to be losing, that sense of community. In Waiahole in 1976 there was a huge sense of community, and it wasn't just the Waiahole community or the Oahu communi­ty, it was people from all islands; people converged. But I don't know whether that sense of commu­nity is as strong now as it has been in the past, and I think the amnesia . . . The kids from Waiahole are having to be told about what happened in '76. That sense of place goes right along with that sense of community, and if it's not being remembered and

the education comes from here and created business and education

opportunities toward that direction, I think you could get much further along the path and dealien­ate what's here. There's a really unusual conflu­ence of circumstance& here in Hawaii. We have this high-tech Western consumer society trans­planted on a very fragile tropical archipelago, and it's this image of paradise in so many different cul­tures' minds, both East and West. It has this para­blelike stage quality to it, and it's in a sense maybe ahead of continental locations. It's the same drama but a little more high-speed play out here. This is a place where maybe will unfold either this trag­ic story, where people will say, "Remember not to do it the way Hawaii did it," or we might be able to come up before the crash and propel toward a "This is the limit." •

�-

- July s M T w T F s • • • 19 20 21 22

23 24 25 • • •

Film That old gang of mine

Federal Hill

Part of the "New Italian Cinema" series at UH Manoa, this 1994 sleeper, directed by Italian American Michael Corrente, tells of a tight-knit male blue-collar gaggle of friends studding it up on Federal Hill, a mob-controlled Italian community in Providence, R.I. This defensive, posturing bunch - agressive, homophobic, unruly - gets a rude initiation into a world laig­er than their own when one member, Ralph, falls for an upper-class co-ed at Brown University. What was once a tight quintet of macho pos­turers begins to seethe with a new kind of hos­tility and disquieting behavior. Obviously influenced by Martin Scorsese's Mean Streets, this is also a star-making film. Nick Turturro ("N.Y.P.D. Blue") does a real star turn as the most hot-headed of the lot - a charming incor­rigible who's both charmer and menace, one who doesn't take kindly to his old gang break­ing apart. A good overlooked film, Federal Hill received only sporadic Mainland bookings and is appearing in Honolulu for the first time. Art Auditorium, UH Manoa campus: Sat 7 /22 & Sun 7/23, 7:30 p.m. $4. 956-7866

Concerts Sweet sounds You say you love Keali'i Reichel's version of the acapella song "Wanting Memories"? Well, this Saturday and Sunday you'll hear Reichel and the original performers of the song, the ladies of Sweet Honey in the Rock, at UH Manoa's "Opele Weekend Fest." An African­American female a capella quintet from Washington, D.C. , Sweet Honey performed before sold-out houses at their visit at last year's

UH Summer Session and is an internationally known music group that is dedicated to the preservation of African-American culture through their performances. Their musical reper­toire includes spirituals, hymns, classic gospel,

love songs and blues. Reichel, now famous for his Hoku­sweeping CD, Kawaipunahele, will open for the visiting vocal artists. Proceeds from the "Opele Festival" will be used toward scholarships, scholastic programming and an operational bud­get for minority-student services at UH. Good music, a good cause and good fun - what more could you ask for? Andrew's Amphitheater, UH Manoa campus: Sat 7/22 & Sun 7/23, 6 p.m. $25 general, $18 students. 956-9217

The last ride Melodious Thunk, a staple of Hono­lulu's psychobilly circuit, is calling it quits. These "denizens of the cosmic dance hall," who have been togeth­er for eight years, will be saying their final farewell with the zydeco band Bon Ton Roule on Friday and Satur­day night at Anna Bannanas. Look for plenty of amalgamated jamming. Anna Bannanas, 2440 S. Beretania St. : Fri 7/21 & Sat 7/22, 8:30 p.m.

$5. 946-5190

Whatevahs Women warriors Anyone who follows women's issues knows of the international furor over the United Nations "Fourth World Conference on Women," scheduled for early September in the Chinese capital. As Tbe Wall Street Journal reported, the Beijing power structure, it seems, is thor­oughly fraz­zled by "the specter of an army of feisty women" and has been shining them on. Well, look out, guys, be­cause 200 of these feisty women are in Honolulu gearing up for September at the Seventh International Cross-Cultural Black Women's Studies Summer Institute. Ethnically, the emphasis here is on "Cross-Cultural ," because, as organizer Dr. Andree McLaughlin explains, " 'Black' is a political term referring to any people experiencing imperialism or racism." In fact, at the Summer Institute's con­ference in London in 1987, a strong contin-

gent showed up from Northern Ireland. Honolulu participants will address Brazil's notorious do­mestic violence; the legions of African wom­en and children refugees hiding in European forests, ignored by the United Nations; and the alliance between Black and Jewish Germans that has New Yorkers awestruck. But this sum­mer's focus is really on Pacific women and their concerns: human rights, nuclear tests and sovereignty vs. self-determination vs. inde­pendence. Ka Lahui's Mililani Trask will speak at one of the nightly public sessions, and every-

Hey hey, we're the monks.

one is invited to Friday's rainbow celebration

of international cul-ture with Hindu dances, African songs and the gamut of Pacific Island arts. Get with it, Beijing. Pacific Beach Hotel, 2409 Kalakaua Ave. : Wed 7/19 - Wed

7 /26, 7 - 9:30 p.m. Free.

Daytime sessions: Wed 7 /19 - Thur

7/27, 9: 15 a.m. -noon, 1 :30 - 4 p.m.

Registration: $35 - 100. 922-1233

Pakalolo park Tired of getting grief for your belief in the leaf? Share a fun-filled day with like-minded peo­ple at "Hempfest '95" at Wairnanalo Beach Park this Saturday. Now in its third year, this all­day event - which includes crafts, food and

Film 14

The Scene 15

Theater and Dance 20

Galleries 21

Museums 21

Sweet Honey in the Rock

"infor-mational awareness stations" - is spreading the good word about hemp: its economic as well as environmental benefits. Bands per­forming at the festival will include Dread Ashanti, Brimstulla, Red Session, THC, Natural Vibrations, El Toupe and Roots Natty Roots. Also, don't miss the "Save the Planet Volleyball Tournament." Waimanalo Beach Park, 41-741 Kalanianaole Hwy. : Sat 7/22, 10 a.m. - 7 p.m. Free. 261-2324

Neighbors Sacred music, sacred dance Nine Tibetan llamas from Drepung Loseling Monastery round out their Hawaii tour with visits to Maui and the Big Island. Drawing from their traditional temple music and masked dances, the monks will perform an arrangement of pieces believed to generate energies conducive to world harmony. The monks are particularly renowned for their multiphonic singing, where they simulta­neously sign three notes. The performance also utilizes traditional instruments such as 10-foot-long dunchen trumpets, drums, bells, cymbals and gyaling horns. Sound a little arsty-fartsy? Think again. The monks are veteran road warriors, having performed with the likes of Paul Simon, Edie Brickell, Natalie Merchant, Kitaro and the Grateful Dead. Maui Am & Cultural Center, Kahalui: Sat 7 /22; Kalani Honua, Puna: Sun 7 /23; Aloha Tbeater, Kona: Mon 7/24 & Tue 7/25; University of Hawaii-Hilo: Thur 7/27, 7 p.m. $15 . 1-800-333-3388 •

July 19, 1995 • Honolulu Weekly• 13

3 1 14 Monsarrat (Next to Cup of Joe) Friday, July 2 1 st 6pm - 8pm Champagne, Pupus & Music

We would like to extend a special "Mahala" to our customers for all of your support and encouragement.Please come join us for our first year

anniversary and see "what's new" with Lotus . . .

Local Artists Arna Johnson & 'lf����!7vamasaki, "The Collection" by Mi les Weiner, Ferretti Farms Fresh Hawaiian Herbs, Lotus Hawaii's Hawaiian

Quilt Collection, Men & Women's Resort Wear.

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14 • July 19, 1995 • Honolulu Weekly

I

"Calendar" is a selective listing of arts, enter­tainment and other activities in the Honolulu area. Due to the capricious nature of life in the entertainment world, dates, times and loca­tions are often subject to change without warn­ing; movies are prone to switching theaters just days after Honolulu Weekly comes out. Avoid disappointment: Call ahead.

Film Criticism by Bob Green unless otherwise noted. i, the Weekly'.5 dingbat of approval, indicates films of more than average interest.

� Apollo 13 Tom Hanks, due to be knighted any moment, has yet another huge hit with this meticulously detailed story about the trou­bles of the Apollo 13 1970 space mission. It will look even better to you in the midst of the dumb blockbusters of the season. Directed by Ron Howard, right on target all the way. Cautiously recommended. Keo/u Center Cinemas, Restaurant Row 9 Theatres, Pear/­ridge 4-Plex, Cinerama, Koko Marina Twins, Kapo/ei Megap/ex, Lale Cinemas Batman Forever If Batman is supposed to be so complex a character, why does he contin­ually get so little screen time? In Batman Forewr this trend continues with the bat guy again tak­ing a back seat to the villains. To the Joker, the Penguin and Catwoman, add Harvey Two­Face and the Riddler. As in the previous two films, the audience is subjected to long, sense­less and plot-stealing introductions. The film is essentially a carbon copy of the previous Batfilm: Two supeivillains are bent on uncov­ering the identity of Batman and killing him, not necessarily in that order. -David K. Chao Pear/ridge West, Kapa/el Megaplex, Kam Drive-In, Restaurant Row 9 Theatres, Keolu Center Cinemas, Kuhlo Twins i Bravehea1 Mel Gibson weighs in with this actioner (much influenced by Orson Welles' Chimes at Midnight), the second film in which

Gibson has directed (and starred). It's big, well done and nicely acted. Kabala 8-Plex, Pearl­ridge 4-Plex, Nanaku/1 Cinemas, Kam Drlv&­ln i 1be Bridges � Madson County For those of us who haven't perused the bargain-book table at Borders, the film is about a slightly bored and very tired Iowa housewife who has a four-day affair with a photojournalist on assignment shooting covered bridges. How does the plain, straight-shooting Clint Eastwood interpret this titanic tear-jerker that brought a nation to its knees? Simple: Make it plain and shoot straight. Eastwood's Bridges is a world apart from Waller's literary accident of a book, a Hemingway Land Cruiser that smashed into Barbara Cartland's rose garden. The director has wiped away that idealized GAP commer­ical-type glow that permeated the book and replaced it with a little salt-of-the-earth real­ism. In the film Francesca and Robert are qui­etly desperate regular people, subject to all the insect bites, bad choices and bad-hair days as the rest of us. -D.K.C. Varsity Twins Casper A $50 million-dollar cute-ghost movie, based on the old cartoon movie shorts. This is live-action, with tons of FX by IlM. Bill Pullman stars. Kabala 8-Plex, Pear/ridge West Congo Amy, a pleasant mountain gorilla and an astonishing Hollywood synthesis of Mighty Joe Young, E.T. and Julia Roberts, is ready to return to the wild. But Amy and Peter, her keeper, are not the only travelers trying to reach the Congo. There's also an ex-CIA babe look­ing for her ex-fiance, lost on an expedition to find rare blue diamonds used for fuel in a laser weapon by her boss. All of this could have been brought off, but this is a tired movie indeed - uninspired and almost no fun at all. Kapolel Megaplex, Pear/ridge West Crimson Tide An underwater thriller - that doesn't run silent or deep - about the turmoil aboard a nuclear submarine after its captain is ordered to fire its missiles. It stars Gene Hackman as the captain and Denzel Washing-

ton as the first officer. Pear/ridge West i Cnimb Director Terry Zwigolfs Crumb is a harrowing look into the life of a brilliant comic­strip artist and his definitively dysfunctional family. What's amazing is not how srangely R. Crumb turned out but that he didn't turn into a serial killer or big-name criminal attorney. ZwigofPs approach to the material is eminently sane: no voice--0vers, no omniscient narrator - just Crumb; his sad, crazy brother Charles; his ex- and current wife; his friends (and crit­ics); and some (but perhaps not enough) exam­ples of his prodigious artwork. The film builds slowly and seems haphazard at first, but these filmmakers know what they are doing; if they introduced us to the chaos of the Crumb fam­ily all at once, we might flee the theater. Va,sity Twins i The Dark Side of the Moon Lasers, 3-D. IMAX and Pink Floyd. It's hard to beat this combination. IMAX Theatre Waikiki Die Hard W'lth a Vengeance Ka-boom. Ka­blooey. Cr-r-r-unch. Kiss kiss, bang bang . . . shit and fuck . . . ker-whammo . . . The only original thing about this Mr. Demi Moore no­brainer is the ending, reshot after the Oklahoma City tragedy. It'll make a kazillion dollars and is very loud. Pear/ridge West First Knight The film works perfectly well as a Hollywood action-adventure-summer­romance-eat-all-your-popcorn flick. Sean Connery is perfectly cast as Arthur, and Richard Gere does a good tum as the swaggering, curi­ously contemporary I.ancelot. Julia Ormond is good, too, as the PC Guinevere. But for the sake of speed, the filmmakers have left out sword, sorcerer and grail, leaving Camelot a pretty simple place: The good guys wear stain­less steel and fight with Hienkel knives; the bad guys wear leather and have Ginzus. -D.K.C. Waikiki Twins, Pear/ridge West, Kam DrlYe-ln, ICapole/ Megaplex, Restaurant Row 9 Theatres, Kallua Theatre FOlget Pn Billy Crystal co-wrote and direct­ed this romantic comedy, in which he co-stars

MOVIEHOUSES Film locations and times are subject to change. Please call venues for latest information.

Town Cinerama 1550 S. King St. 973-6333 Apollo 13

1646 Kapiolani Blvd. 973-5633 Species Yar9ity Twins 1 106 University Ave. 973-5833 The Bridges of Madison County, Crumb

Waikiki IMAX 1heatre Wlildld 325 Seaside Ave. $7.50. 923-4629 Hidden Hawaii, 11 a.m.; 1 :10, 3, 5, 7 & 9 p.m. Kuhio Twins 2095 Kuhio Ave. 973-5433

Judge Dredd, Batman Forever Maina Twins 1765 Ala Moana Blvd. 973-5733 While You Were Sleeping, Once Were Wamors waildld No. 3 Kalakaua at Seaside Ave. 971-5133 Under Siege 2: Dark Territory Wlildld Twins Seaside at Kalakaua Ave. 971-5033 First Knight, Nine Months

Windward Al"kahi Twins Aikahi Park Center, 25 Kaneohe Bay Dr. 254-1330 Picture Bride, Judge Dredd Enchanted Lake Cinemas 1060 Keolu Dr. 263-4171 Nine Months, Indian in the Cupboard, Mighty Morph in Power Rangers, Species

Kailua 1heatre 345 Hahani St. 261-9103 First Knight Keolu Center Cinemas 1090 Keolu Dr. 263-5657 Under Siege 2: Dark Territory, Batman. Forever, Pocahontas

East Kabala &Plex Kahala Mall, 4211 Waialae Ave_ 733-6233 Indian in the Cupboard, Pocabontas, Mighty Motphin Power Rangers, Forget Paris, Casper, Braveheart, Picture Bride Koko Mafna Twins Koko Marina Shopping Center, 7192 Kalanianaole Hwy. 397-6133 Apollo 13, Nine Months

Central Kan DrivMI 98-850 Moanalua Rd 483-5533 Braveheart, First Knight, Under Siege 2: Dark Territory, Batman Forever MIUlall 5-Plex Mililani Town Center, 95-1249 Meheula Pkwy. 625-3886 Under Siege 2: Dark Territory, Nine Months, Mighty Morphin Power Rangers, Judge Dredd, Pocahontas Pearlridge 4-Plex Pearlridge Center, 98-1005 Moanalua Rd. 483-5233 Braveheart, Pocahontas, Apollo 13, Species Peartridge West Pearlridge Center, 98-1005 Moanalua Rd. 483-5333 Nine Months, First Knight,

Casper, Under Siege 2: Dark Territory, Batman Forever, Crimson Tide, Mighty Morphin Power Rangers, Die Hard with a Vengence, Judge Dredd, Indian in the Cupboard, Congo

North Shore Lale Cinemas 55-510 Kamehameha Hwy. 293-7516 Apollo 13, Mighty Morphtn PowerRangers

Leeward NalakuD Cinemas 87-2070 Farrington Hwy. 668-8775 Mighty Morphin Power Rangers, Bravebeart

Art & Revival Houses Academy lbeatre Honolulu Academy of Arts, 900 S. Beretania St. $4. 532-8768 Alice (1989) Wed 7 /19 - Sat 7/22, 7:30 p.m.; matinee, Sun 7/23, 4 p.m. I Don 't Want to Talk About It (1994) Thur 7 /20, 4 p.m. I, The Worst of All (1990) Mon 7/2S - Thur 7/27, 7:30 p.m. Movie Museum 3566 Harding Ave. $5. 735-8771 La.ura (1944) Thur 7 /20, 8 p.m. & Sat 7/22, 3, 5:30 & 8 p.m. The King of Comedy (1983) Fri 7/21, 8 p.m. & Sun 7/23, 3, 5:30 & 8 p.m. The Beast of the City (1932) Mon 7 /24, 5:30 & 8 p.m. UH Art Auditorium UH Manoa Campus $4. 956-7866 Federal Hill (1994) Sat 7/22 & Sun 7/23, 7,30 p.m.

with Debra Winger. Kaha/a 8-P/ex Hidden Hawaii An IMAX tourist-oriented tour of our state, featuring a Big Island volcano, a rain forest, Haleakala and the birth pangs of Loihi. Luckily for us. it has an em·ironmental theme and does an OK job - as far as it goes. Music by Oscar-nominated Mark Isham (Nel'er Cry Wolf) IMAX Theatre Waikiki The Indian in the Cupboard See review on Page 19. Kaha/a 8-Plex, Pear/ridge West, Kapo/ei Megap/ex, Enchanted Lake Cinema Judge Dredd Yo, it's Sly Stallone's summer entry, done on a huge scale and based on the Brit comic strip. Kuhio Twins, Pear/ridge West, Aikahl Twins, Mililani 5-Plex, Kapo/ei Mega­plex, Restaurant Row 9 Theatres Mighty Morphin Power Rangers Sticky lit­rle ke1kis \\'ill like this {upscaled and largely computerized) version of the six suburban superheroes. late of 1V. \\7hether their parents. uncles and guardians can stomach it b anoth­er matter. Visual Jujubes. Enchanted Lake Cinemas, Kahala 8-Plex, Pear/ridge West, Mi/ilani 5-Plex, Kapolei Megap/ex, Nanakuli Cinemas, Laie Cinemas Nine Months See review on Page 19. Waikiki Twins, Peariridge West, Koko Marina Twins, Milllani 5-Plex, Kapo/ei Megaplex, Restaurant Row 9 Theatres, Enchanted Lake Cinema i Once Were Warriors The performance of Rena Owen as a Maori wife and mother trapped in an increasingly violent marriage is among the best you'll see this year and is matched by that of Temurera Morrison as her volatile, anguished husband. The values that once served warriors are distorted grotesquely as a family's son joins a gang and another is taken into cus­tody, leaving only a vulnerable daughter in the midst of the confusion of people who no longer feel themseh•es central in any world. Marina Twins i Picture Bride Riyo, a big-city girl from Yokohama, arrives in Hawaii to find out that it isn't quite the paradise she thought it would be. Beautifully photographed, this home-grown product cook the Audience Prize at the Sundance Film Festival . Some Pidgin purists may have some gripes about the language, but it's a small point. Enjoy. Kaha/a 8-P/ex, Alkahi Twins i Pocahontas This movie is drop-dead gor­geous, and while the songs don't quite live up to the impossibly high standards of Beauty and the Beast, it's a toe-tapper, too. For good mea­sure the filmmakers have thrown in a couple of big lessons, one about being tolerant of dif­ferent people and another about taking care of Mother Earth. The kids will love it. But will they remember it? Maybe not. With a weak love story, not a whole lot of drama or excite­ment and a curious ending, Pocahontas, like the legend it's based on, is likely to be over­shadowed by more-compelling stories. -DK.C Kahala 8-Plex, Pear/ridge 4-Plex, Mililani 5-Plex, Kapolei Megaplex, Restaurant Row 9 Theatres, Keolu Center Cinemas Ring of Fire The history of rnlcanoes and eanhquakes in the Pacific Rim is told in this explosive documentary. The lava footage shot here in Hawaii nei is spectacular; some of the

, other sequences seem like a waste of this big and loud format. IMAX Theatre Waikiki i Search for the Great Sharks The big fish are nicely chronicled in this big format: blue sharks off the coast of California, a whale shark in the Indian Ocean and the infamous Great White in the waters off of Western Australia. IMAX Theatre Waikiki Species Species, the official sci-fi summer movie sweepstakes entry, is . . . well, specious. Like most big-studio movies these days, this thing seems to have been sold on its (intrigu­ing) high concept: Beings from another plan­et send us their DNA sequence, suggesting that we inject it into some of our ova . . . well, ovum. And we do. The result is a Kmall's wet dream: a kid who outgrows her clothes every few weeks. If you're over the age of 14, you've seen this all before - despite its "contempo­raneous" allusions. You'd do well to wait for $1 day at the video store, where Species will be appearing in a couple of months - tops. Kaplolanl, Pearirldge 4-Plex, Kapolel Mega. p/ex, Restaurant Row 9 Theatres, Enchanted Lake Cinemas Under Siege 2: Dali< Territory Steven Seagal on a train. Terrorists. Explosions. Monosyllabic dialogue. Cliffhangings. Ersatz patriotism. Waikiki No. 3, Pearlrldge West, MIii/an/ 5-Plex, Kam Drive-In, Kapa/el Megaplex, Restaurant Row 9 11leatres WIiiie You Were llffpl..i Sandra Bullock

(Speed, The Vanis/Jing) stars in this light roman­tic comedy about love and comas. She's a sub­way employee who falls in love while a boyfriend is out cold. Also stars Bill Pullman (The Accidental Tourist). Marina Twins

Short Runs & Revivals Alice ( 1989) Czech animation whiz Jan :,vankmajer (Faust) mixes live action and sev­eral kinds of animation in this adults-only study of Lewis Carroll's meditation on the vagaries of childhood, unrealized fanrasies and the musi­clike intricacies of higher mathematics. Thanks to the Academy of Arts for bringing this non­mainstream but striking film to the sacred aina. Recommended for hard-core film buffs. Academy Theatre Beast of the City 0932) Walter Huston and a young Mickey Rooney star in this film that tells the tale of perservering police, vainglori­ous racketeers and the gritty underside of la\\· and order - a son of early-talkie Dirty Harry. Movie Museum i Federal Hill See rel'iew on Page ??. Art Auditorium , I Don't Want to Talk About It 0994) Marcello Mastroianni. one of the best film actors of the last four decades, gives another star per­formance in this offbeat but affecting story, done as a fable (as in fablitlux), about an aged professor who falls for a 15-year-old girl, a dwarf and gifted pianist. All of this, as improb­able as it seems, works like magic in the hands of director Maria Luisa Bemberg (Camilla). This movie doesn't miss a beat in moving from comedy to tragedy and back again, with a detour into farce. Highly recommended for sophisticated moviegoers. Academy Theatre i I, Worst of All (1990) Based on Octavio Paz's gfe'dt book, this famous (if largely unseen) film, by the wonderful Maria Luisa Bemberg, comes to Honolulu for a special showing. It's the story of 17th-century poet Juana Ines de la Cruz, she of the unconventional free spirit. Highly recommended. Academy Theatre i The King of Comedy 0983) Director Manin Scorsese's drama - about a would-be stand­up comic who kidnaps a talk-show host -looks better than ever in 1995, an almost sur­real study of our obsession with celebrity and fame. The film sharply divided critics between those who tl1ought it excessive and those who thought it right on target, and it was largely ignored by audiences. Scorsese has had the last laugh, however. The movie was on target all the way, predicting the consequences of electronic pop culture (in this case, television) on the national psyche. Robert DeNiro, in one of his best performances, essays the role of one Rupert Pupkin, who would do anything to be on a late-night talk show, including the aforementioned kidnap scenario. (Here as talk­show king Jerry Langford, Jerry Lewis, of all people, shines in a rare restrained perfomiance.) If you haven't seen this dark gem before, here's your Honolulu chance. A repeat viewing might approach an epiphany. The remarkable cast also includes Sandra Bernhard, ex- Johnny Carson producer Fred de Cordova, model Shelley Hack and Tony Randall. Movie Museum i Laura (1944) Otto Preminger's best movie, a rumination (dreamed up by Rouben Mamoulian) on obsessive "love," greed, suc­cess and wicked double-entendre. A detective (Dana Andrews) investigates the apparent death of a beautiful woman (Gene Tierney) and dis­covers a world populated by a vicious, witty gossip columnist (played, knowingly, by Clifton Webb, who shows us what a closeted life can do to character), a gigolo (Vincent Price), a veangeful woman (Judith Anderson) and mid-1940s New York types. Adapted from Vera Caspary's novel, this film noir has a wicked subtext. No miss. Movie Museum 'i Twist (1993) A benefit for the Hawaii International Film Festival, this little sleeper (a hit at the HIFF two years ago) is a gleeful inves­tigation of rock 'n' roll dance, with archival footage, interviews and a couple of newly staged numbers. Cafe Brio

Concerts Friday Nite Uve Rolando Sanchez is featured in this latest installment of the Academy clas­sic. Central Courtyard, Honolulu Academy of Arts, 900 S. Beretania St.: Fri 7/21 , 5:30 - 7:30 p.m. $5. 532-8700 Kama'aina Friday Night Shows Dolphin­safe music by Ho'okena. Sea Lion Cafe, Sea Life Park, 41-202 Kalanianaole Hwy.: Fri 7/21, 8:30 p.m. $7 concen only; $9.95 adults, $6.50 juniors, $2.50 children, kamaaina park entrance; $19.95, $8.95, $3.95 regular admission. 942-3100 The Monarcll llDcllll ......... ••• The Makaha Sons, Dennis Pavao and Chinky Mahoe's Halau Hula o Kawaili'ula. 1be Monarch Room, Royal

Hawaiian Hotel, 2259 Kalakaua AYe.: Fri 7/21 and Sat 7/22, 8:30 p.m. $25. 931-619'± OPELE Weekend Fest See Calendar on Page 13.

lhe Scene Band schedules are subject to change. Please call venues for latest infomzation.

19 /Wednesday Alternative DeForce. Anna Bannanas 946-5190 Pipes & Drums. Wal'e \Vaikiki 9'±1-0424, ext. 3 Comedy Steve Altman. Honolulu Comedy Club \VACKY-98 Paul Dil lery. Ho110/ul11 Comedy Club \rACKY-98 Contemporary Jon Basebase, Andrew's 591-8677 Dean & Dean, Chart House 9'11-6669 Shari Lynn, \'(!am'or Room. Hale Koa 955-0555 Mango 3. Banditos 488-8888 Kevin Mau, Aloha Bar922-5353 The Maxx, Gussie L'Amour's 836-7883 Joanne Miles, Sloppy Joe's 528-0007 Chris Murphy, The Old Company 923-3373 New Heights, Nicholas Nickolas 955-4466 Kit Samson & Sound Advice. The Captain's Tahle 922-251 1 , ext. 6900 Simplisity, The Pier Bar 536-2166 Guitar Richard Natto, Marina Front Lounge, Hawaii Prince 956-1 1 1 1 Harp Pumehana Davis, Tbe Banyan Veranda 922-3 1 1 1 Hawaiian Tito Berinobis, Lobby Bar. Sheraton-Waikiki 922---4422 Jonah Cummings, Barefoot Bar, Outrigger Waikiki 922-2268 Island Rhythms, Ocean Terrace 922-66 1 1 Doni Kimi, Hau Tree Bar947-7875 Joanie Komatsu, The Captain 's Table 922-251 1 , ext. 6900 The Lililkoi Sisters, Duke's Canoe Club 923-071 1 Hiram Olsen Trio, House Without a Key 923-231 1 Maka'i Trio w/ Aloha, Poolside. Sheraton­Waikiki 922---4422 Elaine Spencer Trio, 77n Banyan Veranda 922-31 1 1 Tropical Knights, Sloppy Joe's 528-0007 Jazz Loretta Ables, Lewers Lounge 923-23 1 1 Azure McCall Quintet, Duc'sBistro531-6325

Piano Carol Atkinson, Mahina Lounge 955-481 1 Randy Hongo, The Banyan Veranda 922-311 1 Ed Moody, Lewers Street Fish Co. 971-1000 Enlie Shea, Mahina Lounge 955-481 1 Ginny Tiu, Tbe Banyan Veranda 922-3 1 1 1 Rock Abby Normal, Fast Zone 536-1035 Bobby Dunne Band, Irish Rose Saloon 924-77 1 1 High Tide, Fast Zone 536-1035 IBM Express, Coconut Willy's 923-9454 The Love Notes, Aston Waikiki Terrace Showroom 532-4600 S.A.P., Fast Zone 536-1035 Sieve, Fast Zone 536-1035 Travel Ught, Fast Zone 536-1035

20/Thursday Alternative Uquid, 7beRow Bar 531-7742 Otis & the Abusers, Tri Espresso Cafe 593-1664 Pipes & Drums, Wave Waikiki 941 -0424, ext. 3 Comedy Steve Altman, Honolulu Comedy Club WACKY-98 Paul Dil lery. Honolulu Comedy Club WACKY-98 Contemporary Cecilo & fit F'nle nl Easy Bani, Kincaid's 591-2005 Dem a Deal, Chart House 941-«ii9 Bryan Huddy, The Shorebird 923-2277 111111 I.JIii, Windows at F.aton Square 946-4442

Continued on Paal• 17

Sometimes, when you accidentally end up in a place you would not choose to go for entertainment, you stumble right into a good time. Recently, I found myself at the Row Bar at Restaurant Row. It was 5 o'clock in the afternoon, and I was waiting on some­one, so I couldn't leave. As I ordered my first beer, I noticed the bar and surrounding tables were packed with young white guys in busi­ness suits. I got the uneasy feeling I was at a Young Republicans meeting or something equally creepy. A few minutes later I found out I was almost right.

I was getting bored waiting on my friend, but I figured what the hell, and had beer. In front of the Row Bar area, I noticed a radio station was doing a live broadcast. It was KHVH doing what seemed to be some kind of a Rush Limbaugh singles thing. They called it "Rush Hour," and the grand prize of the event was a round of golf with KHVH per­sonalities. Wheeee! Like I said, it seemed to be some kind of a "singles that listen to Rush" thing, but - surprise! - there were no women there. That explained all the whities in business suits; they were Dittoheads. For those of you who are fortunate enough to be unfamiliar with the term "Ditto head," it is the nickname for Rush Limbaugh fans. It is not a nickname bestowed upon them by critics, it's a name they call themselves. When a caller gets on the air with Rush, they preface their comments with the greeting "Megadittos, Rush!" They might as well begin with "Before I get started, Rush, I just want to say that whatever you say is totally correct. With you around, I never have to think!"

A little while and a little more alcohol later, I was becoming completely irate with a group of chubby nerds sitting close to me. You know how irritating the socially challenged are when they get drunk. It seemed like their every sentence began with "Rush says . . . "

"But wait a minute," I thought, 'Tm sur­rounded by Republicans; I can do whatever I want! Who cares what they think?" I did my best to wipe the evil grin off my face as I approached their table and asked if I could join them.

After introductions I told one of the guys that I liked his tie. He said thanks. I said, "Hey,

I bet Newt would like that tie. Newt wears great ties. Have you ever noticed that? I 'm sure you have. I can tell you're a tie man. Everyone knows Republicans wear the best ties. Most Democrats wear hippie-trippy clothes. Have you noticed that?"

"Uh, yeah, I mean, I guess some of them do," he muttered. The confused looks on the ir faces encouraged me to continue. I could tell I wasn't welcome at their table, but I pretended not to notice and continued talk­ing.

"Newt says being Republican is hip now, and I believe him. The American people have demanded change, and what used to be con­sidered selfish, backward and idiotic is now the 'in thing.' Hey, you know who could kick Bill Clinton's weenie ass? Bob Dole. Think about it! Sure, he has a bum arm but Bob's a tough old bastard. And Clinton is so stupid, he probably would try to hit him in the fake arm - Ha! Like that would hurt!" I refused to shut up.

"You know what I hate? Affirmative action. The liberals are trying to turn America into Nazi Germany, literally. You know what some­body should do? Chop off Bill Clinton's head, that's what! That would solve all our prob­lems. But first, somebody should disem­bowel him and string his guts around the Oval Office as an example to the other stupid Democrats. Do you know why? Because Clinton and his liberals are destroying democ­racy! He wants to raise taxes on regular Americans so he can give more money to welfare cheats and immigrants! I say we just get rid of all liberals. How about a Democrat Trail of Tears? Am I right, gentlemen? Am I right?"

There was only silence and fearful glances. One of the Dittoheads wiped my spit off his glasses. I demanded they buy me a beer, which they did, and I walked away giggling.

I realize this article has little to do with the "club scene," but let's face it: Sometimes this town gets boring. I'm saying an effec­tive way to create your own fun is to go to places that suck and pretend you think you fit in. Sometimes it's more fun than being yourself.

Mark Chittom

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21/Friday Alternative Liquid, No NameBar26l-8725 Mellodrips, Lion Coffee Cafe 591-1199 Pipes I Drums, Wave Waikiki 941-0424, ext. 3 otis Schaper, Rodeo Cantina 454-1 200 Band Royal Hawaiian Band, Jolani Palace Bandstand 523-4674

Blues Blue Buno, Dasis Niteclub 734-3772 Comedy Joan Fagan, Honolulu Comedy Club WACKY-98 Loose Screws, Ward's Rafters 734-0397 Contemporary Cecilo a the Free and Ealy Band, Kincaid's 591-2005 Dean I Dean, Chart House 941-6669 Bryan Huddy, Tbe Shorebird 923-2277 Jay Lanin, Cupid's Lounge, Outrigger Prince Kuhio 922-081 1 The Maxx, Gussie L'Amour's 836-7883 Joanne Miles, Roy's 396-7697 New Heights, Nicholas Nickolas 955-4466 Kit Samson & Sound Advice, Tbe Captain's Table 922-2511 , ext. 6900 Two for the Road, Pizza Bob's 532-4600 Folk Bryan & Julie Huddy, Banditos 488-8888 Guitar Ric:had Natto, Marina Front Lounge, Hawaii Prince 956-11 1 1 John Pritchett, Coffee Haven 732-2090 Harp Pumehana Davis, The Banyan Veranda 922-31 1 1 Hawaiian Mahi Beamer, Andrew's 591-8677 Brother Noland, The Pier Bar 536-2166 Hawaiian Time, Coconuts, llikai 949-3811 Ho'okena, Sea Life Park 942-3100 Island Rhythms, Coconuts, Ilikai 949-381 1 Kaleo 'O Kalani, Leeward Bowl Bar832-7171 The Kanile'a Collection, Barnes & Noble 737-3323 Kapena, Coconuts, llikai 949-3811 Henry Kapono, Tbe Pier Bar 536-2166 Moe Keale Trio, Duke's Canoe Club 923-0711 The Lililkoi Sisters, Duke's Canoe Club 923-07 1 1 Nanea, Tbe Pier Bar 536-2166 Olomana, Paradise Lounge 949-4321 Hiram Olsen Trio, House Without a Key 923-231 1 Butdl O'Sullvan, Lobby Bar, Sheraton-Waikiki 922-4422 Pu'uhonua Trio, The Banyan Veranda 922-3 1 1 1 Haumea Warrington, Barefoot Bar, Outrigger Waikiki 922-2268 Jazz Loretta Ables, Lewers Lounge 923-2311 Jimmy Borges & Betty Loo Taylor, Cafe Picasso, Alana Waikiki 941-7275 Azure McCall Quintet. Due's Bistro 531-6325 The Greg Pai Trio, Hanatei Bistro 396-0777 Abe Weinstein, Scott's Seafood Grill & Bar 537-6800 Abe Weinstein & Friends, Hanohano Room 922-4422 Abe Weinstein Sixtette, Tamarind Park 527-5666 Piano Stewart Cunningham, South Seas Village 923-8484 Christopher Herman, Borders Books and Jfusic-Ward 591-8995 Emie Shea, ,\1ahina Lounge 955-481 1 Ginny Tiu, The Banyan Veranda 922-31 1 1 Johnny Todd, Mahina Lounge 955-481 1

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Reggae Natural Vibe, Fast Zone 536-1035 Roots Natty Roots. Fast Zone 536-1035 Rock Buddy Haole, Village Espresso 523-2326 Contact High, Kahuku Sugar Mill 293-7427 Copycats, Leslie's Place 845-5752 Bobby Dunne Band, Irish Rose Saloon 924-77 1 1 Hortonsphere. Tri Espresso Cafe 593-1664 The Love Notes, Aston Waikiki Terrace Showroom 532-4600 Melodious Thunk, Anna Bannanas946-5190 Roadhouse, Waianae Bowl Bar 668-8778 Otis Schaper, Rodeo Cantina 454-1200 Unknowns, Kahuku Sugar Mill 293-7427 Scott Williams Band, Sloppy Joe's 528-0007 Zydeco Bon Ton Roule, Fast Zone 536-1035

22/Saturday Alternative Gene Pool, Kahuku Sugar Mill 293-7427 Uquid, Tbe RowBar531-7742 Pipes & Drums, Wave Waikiki 941-0424, ext. 3 Otis Schaper, Rodeo Cantina 454-1 200 Spiny Nonnan, Kahuku Sugar Mill 293-7427 Blues Big ThMg Aloha Tower Marketplace 528-5700 Floyd Dixon, Caffe Valentino 926-2623 Comedy Joan Fagan, Honolulu Comedy Club WACKY-98 Contemporary Jon Basebase, Andrew's 591..fY:,77 Dean & Dean, ChartHouse 941-6669 Bryan Huddy, Tbe Shorebird 922-2887 Joe Kingston I Brian Moms, Pizza Bob's 532-4600 The Maxx, Gussie L'Amour's 836-7883 Kit Samson I Sound Advice, Tbe Captain's Table 922-2511, ext. 6900

Tropical Sounds, The Pier Bar 536-2166 Guitar Richard Natto, Marina Front Lounge, Hau'Clii Prince 956-1 1 1 1 John Pritchett. Coffee Haven 732-2090 Harp Pumehana Davis. The Banyan Veranda 922-3 1 1 1 Hawaiian Brother Noland, Duke's Canoe Club 923-0711 Halau Hula o Maiki. Kuhio Beach Banyan Tree Park 527-5666 Hawaiian Paradise, Tbe Banyan Veranda 922-3111 Hawaiian Time. Coconuts. Ilikai 949-381 1 Island Rhythms. Coconuts. Ilikai 949-381 1 Joe Kingston and Brian Morris, Pizza Bob'.s 532-4600 Kaleo '0 Kalani, LeewardBowlBar832-7171 Kanilau w/ Noe, Poolside, Sheraton-Waikiki 922-4422 Kapena. Coconuts, Ilikai 949-3811 Doni Kimi, Hau Tree Bar947-7875 The Lililkoi Sisters, Duke's Canoe Club 923-07 1 1 Bobby Moderow & Maunalua, Roy's 396-7697 Olomana, Paradise Lounge 949-4321 Hiram Olsen Trio, House Without a Key 923-23 1 1 Butch O'SUlivan, Lobby Bar, Sheraton-Waikiki 922-4422 Pahoehoe, Borders Books and Music-Ward 591-8995 Partners in Pan, The Banyan Veranda 922-31 1 1 Halmea Wan'ington, Barefoot Bar, Outrigger Waikiki 922-2268 Jazz Loretta Ables, Lewers Lounge 923-231 1 Jimmy Borges I Betty Loo Taylor, Cafe Picasso, Alana Waikiki 941-7275 Azure McCall Quintet, Due's Bistro 531-6325 The Greg Pai Trio, Hanatei Bistro 396-0m Abe Weinstein I Friends, Hanohano Room 922-4422

Continued on Page 20

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Film

The Indian in the Cupboard is user}riendly , bite� sized PC.

Where the Wild Things Aren't

B O B G R E E N

ood children's movies are the rarest kind of film, and maybe if the well-meaning but overly domesticated Indian had been released before The Secret of Roan Inish or The Little Princess,

it would have been even more lav­ishly overpraised. As it is, it 's an agreeably passable movie, with all its PC ducks in a (tiny) row. Indian tries to have it both ways, however, with the integrity of an independent film and the merchandising tie-in compromises of a big-studio project. (In this case two big studios co-pro­duced.) And, in Hollywood, senti­mentalized, animated or rniniaturiz:ed Indians are still "hot."

The film, directed by chief Muppeteer Frank Oz, is based on a much better novel and doesn't allow, as did the book, the audience to use its imagination to individualize the fantasy characters. The movie stan-

Action figure: Litefoot as the

Indian

dardizes its chief fig­ures: a 176 1 Iroquois Indian hunter (played by Amerindian rapster Litefoot) and an 1879 cowpoke (Oklahoma's David Keith), both of whom are toy fig­ures brought to life in a magic cupboard given to our pre­pubescent hero on his birthday. Then the movie offers up bite-sized lessons in humanity: a snippet of Iroquois ritual involving a fallen animal, the cowboy learning to be tolerant (and forgiving) of the Indian, a tiny peek at pain and death, a little lesson in familial compromise, a Hispanic teacher's concern for his students and so on.

But these bite-sized flourishes carry their own irony: The toy figures might come to (miniature) life, but the larg­er ideas they are meant to embody are themselves turned into toys reduced in size and importance; everything is finally domesticated

(as opposed to civilized) in this Spielbergian uni­verse. It is difficult - perhaps impos­sible - to tell what the boy's goodbye to his fan­tasy means at the end of the film, the beginning of won­

der or a farewell to the "wildness" of imagination.

Still, if you know any kids who can sit still for an hour and a half, they'll probably like this movie. (And exhausted parents will probably be soothed by the suavity of its tedium - the movie is nice, like the tame friend your parents always wanted you to play with.)

And it's a cracking good story that even the bland-leading-the-bland treatment can't quite destroy. This movie turns itself into a harmless toy and then asks us to imagine that it's a great deal more. •

Pregnancy, parenthood and the momentous changes that occur when the little one comes a�knockin' : Nine Months shows us the wonders of childbirth -from the male perspective .

Father Knows Least From here to paternity: expectant parents (Hugh Grant and Julianne Moore) react to the news

D A V I D K . C H O O

bout three-quarters through, Nine Months runs out of gas. This moment comes after Dr. Samuel Faulkner (Grant), a child psycholo­gist, has just broken up with his pregnant girlfriend

(Julianne Moore) and finds himself again treading the treacherous waters of the singles scene. What follows is a short comic montage in which Samuel learns two new sports: in­line skating, not a good choice in his hometown of San Francisco, and then, moments later, the contact sport of "mingling" at a crowded babe­filled loft party. Random acts of slap­stick. New games, new babes. Life for the father-to-be is tough.

Nine Months is about pregnancy, parenthood and the momentous changes that occur when the little one comes a-knockin'. Yet curious­ly, Nine Months is told through the male's perspective. Huh? It's not that this apparently dumb decision of point-of-view can' t be pulled off. Somehow, someway, someone may

experience, I guess. What is certain is that if that day is ever to come, males are going to be a whole lot more complex and smart than our standardbearer in Nine Months.

As the film opens, Samuel and Rebecca - in full yuppie splendor - are celebrating five wonderful years together. Sam's practice has finally taken off (he has just bought a Porsche convertible), and Rebecca teaches dance to the most beautiful children in San Francisco. They have an apartment that has a stunning view of every landmark in the city and on weekends drive top down through some of the most stunning landscape in Napa Valley. Their, or his, world comes crashing down after Rebecca anounces that she is pregnant.

Samuel doesn' t want to have a child because it will mean that he will have to sell his brand-new Porsche and get rid of his cat. After

putting up with his indifference and foot dragging, and after Grant has exhaust­ed his considerable repertoire of ges­tures to illustrate them - fingers through the hair, shrugging and lots of blinking - Rebecca walks out. (If she hung around a moment longer, she would be dumber than Samuel.) It is precisely at this point that the story dies, and we are treated to the aforementioned, barely amusing filler while we wait for the inevitable big finish. In the end Samuel realizes what a big idiot he is; Rebecca real­izes that she can't live without the big lug. The baby is born and the characters, overcoming their tem­porary lapse into stupidity, contin­ue, having traded the Porsche in for a Ford Explorer and dumped the cat. •

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opening night, with solos by 24-year-old violinist Gil

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July 19, 1995 • Honolulu Weekly • 19

_ .,

From Page 18

Piano Stewart Cunningham, South Seas Village 923-8484 Emle Shea, Mabina Lounge 955-481 1 Ginny Tiu, The Banyan Veranda 922-31 1 1 Johnny Todd, Mahina Lounge 955-481 1 Rock Copycats, Leslie's Place 845-5752 Bobby Dunne Band, irish Rose Saloon 924-771 1 A Feeding Fast Zone 536-1035 Full Moon, Tri Bpresso Cafe 593-1664 Jonny & the Papayas, Sloppy Joe's 528-0007 The Love Notes, Aston Waikiki Terrace Showroom 532-4600 Melodlus Thunk, Anna Bannanas 946-5190 Pacific Street, The Pier Bar 536-2166 Cameron Rafeail, Sloppy Joe's 528-0007 Otis Schaper, Rodeo Cantina 454-1200 Smother Party, Fast Zone 536-1035 Zydeco Bon Ton Roule, Anna Bannanas 946-5190

23/Sunday Alternative Pipes & Drums, Wave Waikiki 941-0424, ext. 3 Band Royal Hawaiian Band. Kapiolani Park Bandstand 523-4674 Comedy Joan Fagan, Honolulu Comedy Club WACKY-98 Folk One People, Irish Rose Saloon 924-771 1 Hawaiian Banyan Serenaders, The Banyan Veranda 922-3111 Jonah Cummings, Barefoot Bar, Outrigger Waikiki 922-2268 Moe Keele w/ Aloha, Poolside, Sheraton­Waikiki 922-4422 Joanie Komatsu, The Captain's Table 922-251 1, ext. 6900

George Kuo, Compadres 591-8307 Lelua Daice Colqaly, Kubio Beach Banyan Tree Park 527-5666 The Lllllkol Sisters, Duke's Canoe Club 923-071 1 Partners I n Pan, The Banyan Veranda 922-3 1 1 1 Pu'uhonua Trio, The Banyan Veranda 922-3 1 1 1 Leon Siu, Lobby Bar, Sheraton-Waikiki 922-4422 Tropical Kndds, Duke's Canoe aub 923-0711 Jazz BiU Cox & the Over the till Jass Band, Palm Terrace Grill 263-8880 Paradox w/ David Choy, The Pier Bar 536-2166 The Vibe, Ward's Rafters 734-0397 Abe Weinstein, Scott's Seafood Bar & Grill 537-6800 The Abe Weinstein Quintet, The Pier Bar 528-5700 Piano Carol Atkinson, Mahina Lounge 955-481 1 Ginny Tiu, The Banyan Veranda 922-3111 Ruben Yap, Mahina Lounge 955-481 1 Reggae LocarAnesthesla, Sloppy Joe's 528-0007 Rock High Tide, Sugar Bar637-6989 IBM Express. Coconut \'filly's 923-9454 Johnson & Johnson. Sloppy Joe's 528-0007 Potato Cannon, Anna Bannanas 946-5190

24/Monday Comedy Joan Fagan, Honolulu Comedy Club WACKY-98 Contemporary Dean & Dean, Chart House 941-6669 Chris Murphy, The Old Company 923-3373 New Heights, Nicholas Nickolas 955-4466 Folk One People, Irish Rose Saloon 924-771 1

Guitar Winston Tan, The Ship's Tavern 922-31 1 1 Harp Shaline Lain, The Banyan Veranda 922-3111 Hawaiian Tito Berlnobls, Lobby Bar, Sheraton-Waikiki 922-4422 Jonah Cummings, Barefoot Bar, Outrigger Waikiki 922-2268 Ho'onanea, The Banyan Veranda 922-3111 Joanie Komatsu, The Captain's Table 922-2511 , ext. 6900 Ku'uipo Kumukahi w/ Aloha, Poolside, Sheraton-Waikiki 922-4422 The Lililkoi Sisters, Duke's Canoe Club 923-071 1 Jazz Bill Cox & Friends, Jaron's Kai/ua 262-6768 Jazz Hawaii Big Band w/ Rodney Perez, Coconuts, llikai 949-3811 Piano Carol Atkinson, Mahina Lounge 955-481 1 Randy Hongo, The Banyan Veranda 922-3111 Ruben Yap, Mahina Lounge 955-481 1 Rock Sean Carillo, Sloppy Joe's 528-0007 IBM Express, Coconut Willy's 923-9454 Swinging Johnsons. Sloppy Joe's 528-0007 Zydeco Bon Ton Roule, Fast Zone 536-1035

25/Tuesday Comedy Joan Fagan, Honolulu Comedy Club WACKY-98 Contemporary Jon Basebue, Andrew's591-8677 Brado Mamalias, Chart House 941-6669 Kevin Mau, Aloha Bar922-5353 The Maxx, Gussie L\4mour's 836-7883 Chris Murphy, The Old Company 923-3373 New Heights, Nicholas Nickolas 955-4466 KH Samson & Sound Advice, The Captain's Table 922-2511 , ext. 6900

•

Guitar Jeff & Alex, Coffee Manoa 988-5113 Harp Pumehana Davis, The Banyan Veranda 922-31 1 1 Hawaiian Brother Noland, Compadres 591-8307 Jonah Cummings, Barefoot Bar, Outrigger Waikiki 922-2268 Moe Keele w/ Kaulana, Poolside, Sheraton­Waikiki 922-4422 Doni Kimi, Hau Tree Bar 947-7875 The Lilllkol Sisters, Duke's Canoe Club 923-071 1 '0 Wai La, Pizza Bob's 532-4600 Pu'uhonua Trio, The Banyan Veranda 922-3 1 1 1 Ryan Tang Lobby Bar, Sheraton-Waikiki 922-4422 Jazz Loretta Ables, Lewers Lounge 923-231 1 Bill Cox & Friends,Jaron's Kailua 262-6768 Azure McCall Quintet, Due's Bistro 531-6325 Piano Carol Atkinson, Mahina Lounge 955-481 1 Randy Hongo, The Banyan Veranda 922-3111 Ed Moody, Lewers Street Fish Co. 971-1000 Ginny Tiu, The Banyan Veranda 922-31 1 1 Ruben Yap, Mahina Lounge 955-481 1 Rock Beat the Clock, Sloppy Joe's 528-0007 Bulikoko, Sloppy Joe's 528-0007 Bobby Dunne Band, Irish Rose Saloon 924-7711 IBM Express, Coconut Willy's 923-9454 The Love Notes, Aston Waikiki Terrace Showroom 532-4600

lheater and Dance Boccaccio's Decameron Storyteller Jeff Gere presents an adults-only show featuring two

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J\N O jusr 1�� • • _FoP. '{oiJPi -SAau's 1st. ·� 3 1 ;4" x 1 1 1a"

I • r:r:,- -. , • 250 labels = 243.15

.. :/�X":'.:,;.

ALSO ON SALE: <, .,,, SLEEPER-Smart 1 1 .99 CD 7.99 CS FUflY IN THE SLAUGHTERHOUSE.;,The Hearing And The Sense of Balance 1 1.9!:t_CD 7.99 CS

·- . . . ,

JAUN LOIS:GUERRA�Grandes Exitbs . J1 .9�reo 1:ss"e§, ;w .. .

---- -- ------

bawdy tales from Boccaccio's Decameron, a love story from Italo Calvino's Tower of Crossed Destiny, "a true and horrible tale of a ghost that haunted the villa I caretook outside of Florence" and a bittersweet love story (again from the Decameron). Call for reservations. Waro''s Rafters, 3810 Maunaloa Ave.: Sat 7/22, 7:30 - 9 p.m. (picnic diners welcome at 6:30). $10 suggested donation. 734-0397 Grand Hotel This Tommy Tune reinterpreta­tion of the 1932 Garbo film classic manages to capture the nostalgia, not for post-WWI Berlin, but for old Broadway musicals (Oklahoma, The Kind and I, etc.). The plot weaves togeth­er the lives of different guests at the Grand Hotel, Berlin, 1928: an aging ballerina and her love-sick assistant, a penniless baron, an unscrupulous capitalist, a Jewish bookkeeper and a stenographer with dreams of Hollywood stardom. Manoa Valley Theatre, 2833 E. Manoa Rd.: Wed 7/19 - Sat 7/22, 8 p.m.; Sun 7/23, 4 p.m. $23 Wed, Thur & Sun; $25 Fri; $27 Sat. 988-6131 Happily Eva Afta Back cuz ho ka popular, Happily Eva Afta is the third installment in Lisa Matsumoto's delightful Once Upon One Time trilogy. Like its predecessors, Once Upon One Time and Once Upon One Noddah Time, Happily Eva Afta takes us to a magical, comi­cal world of favorite fairy tales presented the way they were meant to be: in da kine style. Diamond Head Theatre. 520 Makapuu Ave.: \\ ed - Sat � 21 - 8, 5. 8 p.m.; Sun 7/23 - 8/6, 4 p.m. �10 - S40. 734-0274 Loose Screws The improvisational comedy troupe Loose Screws presents a different pro-gram each week, with material developed from audience inspiration and participation (or was that audience perspiration and incantations? Don't worry, they're funnier than we are). Ward's Rafters, 3810 Maunaloa Ave.: Fri 7/21 - 8/11, 7:30 p.m. (pinic diners welcome at 6:30). $10 suggested donation. 734-0397 Pekelo & Pua'a and other Ballets Hawaii Ballet Theatre presents Pekelo & Pua 'a ("Peter and the boar"), a Hawaiian adaptation of Peter and the Wolf, plus Astaire!, Stars & Spangles, Tango del Barrio and other repertory works. Featured performers include South American

SALE ENDS 7/28/95

Art brought in on Macintosh Disk will incur no extra charges. Those labels that need to be designed will have a $75.00 additional charge for layout, photo scans and typesetting. lab I . e s, rnc.

500 labels = 265.05 1 ,000 labels = 3 1 1 . 1 2

5 11 X 1 1 /8 11

250 labels = 246.00 500 labels = 268.57

1 ,000 labels = 3 1 4.45

HONOLULU

KAHALA • AIEA

*WAIKIKI 1920 Colburn Street • Honolulu, HI 968 19 • M-F 8:30 am to 5:00 pm

ph: (808) 845-3262 • fax: (808) 845-4384 • Haw'n Isles: 1-800-606-6500

20 • July 19, 1995 • Honolulu Weekly

ballerina Yumelia Garcia, Laurence Blake of Los Angeles and a host of local dancers. LCC Theatre, Leeward Community College campus: Sat 7/22, 8 p.m.; Sun 7/23, 2 p.m. $18 adults, $15 children under 12, seniors, military. 422-9772

Galleries Opening Nature's Way Watercolors by Leslie Ruth. Opens 7 /22, runs through 8/19. HonoluJu Qub, 932 Ward Ave. 543-3900

Reflection Works by Jeff (Ichabod Tod) Woodyard. Opening reception Fri 7/21, 5 - 7 p.m.; runs through 8/11 . BOOM Art Gallery, 81 S. Hotel St., Ste. 318. 524-8324 Works by Timothy Ojile Opens 7/19, runs through 10/18. The Contemporary Museum Gallery at Alana Waikiki, 1956 Ala Moana Blvd. 526-1322

Continuing AdriMO Recent mixed-media works. Through 8/5. Little Bit of Saigon, l l(i() Maunakea St. 528-3665 Michelle Bachman Recent works. Through 8/6. Catania Ristorante Italiano, 2671 S. King St. 949-3545 Scott Bader Recent watercolors. Through 8/31. The Cafe, 1152 Koko Head Ave. 739-2556 The Changing Myths. Mixed-media works by Mark Kadota. Through 7 /'lB. Ramsay Galleries, 1128 Smith St. 537-2787 FO.TO.GR.PY Hand-mlored prints by Pat Smith. Through 8/16. Sharks Cafe, 2535 Coyne St. 947-4275 Annie Irons Recent works. Through 8/6. Center Court, 1088 Bishop St. 539-3115 Ko'olau Shadow Recent acrylics by Dan Bethune. Through 7/31. Ko'olau Gallery, 46-056 Kam Hwy. 247-0709 The Many Faces Acrylic on canvas by Colin Ushijima. Through 8/19. Paul Brown, 1347 Kapiolani Blvd. 947-3971 The Painter's Eye Acrylics by Richard Gullicksen. Through 7/22. Honolulu Club, 932 Ward Ave. 597-8108 The Past Recaptured Paintings, watercolors and collages by Winnifred Hudson. Through 9/13. The Contemporary Museum Gallery at the Honolulu Advertiser, 605 Kapiolani Blvd. [phone] Recent Abstracts Mixed-media works by Lee Martin. Through 7/31 . Verbano Italiano Ristorante, 3751 Waialae Ave. 735-lm Room far Exper:mentallon "A travelling pho­tographic experimentation" featuring Rona Awber, Kirsten Geldermann, Mary Higgins, A'lisha Leisek, Chikako Ohara, Tammy Otake and Ryan Yamashiro. Through 7/29. Storm

Center, 1820 UniYersity Ave. 593-1043 Shadows of Time Photography by Robert Post Through 7 /31. Moming Brew Coffee House, 572 Kailua Rd. 261-1726 Tropical Chiaoscuro Recent watercolors and acrylics by Michael Teruya. Through 7/31. Arts of Paradise, International Market Place, 2nd Fl. 924-2787 Touching Palms Recent works by Janee Stam. Through 7/30. A Cup of Joe, 3116 Monsarrat Ave. 737-7445 Voilal Works by Doris Aragaki, Thelma Greig, Emily Harden, George V. Hogan, Charles Reinhom and Han Solo. Through 7 /23. Queen Emma Gallery, The Queen's Medical Center, 1301 Punchbowl St. 547-4397 Watercolor Realism Watercolors by Garry Palm. Through 7/31. Davies Pacific Center Gallery, 841 Bishop St., mezzanine level. 625-2039

Museums Bishop Museum 1525 Bernice St. Open daily, 9 a.m. - 5 p.m. $7.95 adults, $6.95 kids. 847-3511 Botanical mustrations from the Donald Angus Collectwn Original prints, many hand colored, illustrating flowers, plants and trees. Originally created for plant documentation pur­po:;es, the majority of the prints were produced in the 19th century, with the oldest dating to 1575. Through 8/25. Dinosaurs/Travel 65 million years back in time and come face to face with 19 robotic dinosaurs that move, stomp, hiss and roar. Through 9/17. Journey by Starlight A two-part planetarium program looks at the history of Polynesian explorations and how the sky may have been used by ancient na� to explore the Pacific. Daily, 1 1 a.m. & 2 p.m.; Fridays & Saturdays, 7 p.m. $3.50. Tbe Sky Tonight Learn about the stars, con­stellations and planets visible in Hawaii's skies in June at this monthly planetarium program. Weather permitting, the museum's observato-

ry will be open after the program for a close­up look at some of the sights in our night sky. First Monday of each month, 7 p.m. $3.50, members free. For reservations, call 847-8201. The Contemporary Museum 241 1 Makiki Heights Dr. Open Tue - Sat, 10 a.m. - 4 p.m.; Sun, noon - 4 p.m. $5 (third Thur of each month free). 526-1322 Biennial of Hawaii Artists An overview of some of Hawaii's best artists, including Gail Bakutis, Gaye Chan, Sally French, Don Ed Hardy, Garnett Puett, Frank Sheriff and David Ulrich. Through 8/20. The Hawaii Maritime Center Pier 7. Open daily, 9 a.m. - 5 p.m. $7 adults, $4 kids. 536-6373 The history of Hawaii is the history of its rela­tionship with die ocean. Honolulu's waterfront museum offers an excellent view of that his­tory through exhibits that explore the ancient Hawaiian voyages, Captain Cook, the whaling industry, memories of the Matson and Lurline shipping lines and the most recent maritime hallmark, the Hokule'a and Hawai'iloa voy­ages. The center is home to the Falls of Clyde - the only fully rigged four-masted ship left in existence - a humpback whale skeleton and other marine displays ranging from sharks to yacht racing. Ongoing. Hawaii's Plantation Village 94-695 Waipahu St. Open Mon - Sat, 8 a.m. - 4 p.m. $5 sug­gested donation. 677-0110 A living museum dedicated to the diversity of the eight major ethnic groups that came to work the sugar and pineapple plantations. The 29 restored and re-created homes and struc­tures portray plantation days in the mid-1800s to the mid-1900s. Honolulu Academy of Arts 900 S. Beretania St. Open Tue - Sat, 10 a.m. - 4:30 p.m.; Sun, 1 - 5 p.m. $5 adults; $3 students, seniors. 532-8700 A OdturalBktul:Japan and America Works by the second generation of modem painters in Japan, from the late 19th and early 20th cen­turies. Through November. Becoming Cblnese:Jewelry Art by Rm, Ho This exhibition is the first survey of Hawaii­born pioneer Ho's career and brings together

Continued on Page 24

�e(lturing_ Keali' i Reichel

Hawaiian Style Band Ka' au Crater Boys

Tlie Brothers Cazimero Tlie Malian.a Sons

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Call now 521 -5 1 50 and we reserve your seat.

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Eight Doctors. Nin, Offices. On, Purpose.

July 19, 1995 • Honolulu Weekly• 21

-..-, -- - - --- � - -:· · - · . -�--- - - --�-- --:--- --.---- - .--�--: -. � - � �·� - --� - - - --_,

Hon.o·lu.lu. Academy 0£ Arts

F R I DAY N I T E L I V E presents

Rolando Sanchez · &

Sa lsa Hawa i i

Friday, J u ly 21

. 5 :30 to 8:30 pm

Genera l admission : $5.00

Members: $3.00

Anyone who becomes a member Ju ly 2 1 wi l l be admitted free !

Honol u , u Aca demy of Arts 900 S. Be reta n i a St.

Fo r i nfo: 532 :-8700

22 • July 19, 1995 • Honolulu Weekly

Film

How do you create a successful screenplay? Give your character a compelling desire and go to see a lot of movies .

creenwritin

D A V I D K C H O 0

ike many of us, teacher and script consultant Michael Hauge has a love affair with the movies. Author of the screenwriting book Writing Scripts That Sell, Hauge fell in love early, spending many

a Saturday afternoon at the local movie theater. Hauge's father sold popcorn to the theater, which gave his son an enviable perk: free movies. The young Hauge took advantage, spending many Saturday afternoons in the theater. Creature features, hor­ror, Abbott and Costello, Martin and Lewis - the young Hauge saw any­thing that he says, in retrospect, "gave him an emotional experience." (Movies with kissing came later.)

Hauge's passion for film took him to Hollywood, where he went to film school and landed a job in the indus­try in development for a small pro­duction company. First employed as a reader, then as a story editor, Hauge poured through countless scripts and novels looking for stories to develop into films. Most of the scripts were terrible (Hauge says that most of the scripts floating around Hollywood are terrible), but they were terrible in the same way. Although wildly dif­ferent in subject matter, the scripts lacked a strong central character and a e:ompelling desire that defines him or her. After making this realization, Hauge began to formulate theories on what comprises a good script. Those theories culminated in his book, Writing Scripts That Sell. Hauge, who today splits his time between script consulting and teaching, visits UH Summer Session's Film and Video Summer Institute this weekend. He took time out before his trip to Honolulu to talk film with the Weekly.

HW: What kind of story sells today in Hollywood, and is it different from what sold five or 10 years ago?

MH: On the surface there seem to be trends. Probably five, maybe 10 years ago everybody wanted family comedy, which never went out of style. They wanted movies like Home Alone, Beethoven, The Mighty Ducks, movies designed for kids but that wouldn't bore parents to tears. More recently, I suppose it is the dumb com­edy that is the current trend.

There seem to be trends that fol­low these same patterns: A movie that

Heroes you can root for: According to script consuttant Michael Hauge, Apollo 13 is one of '95's best films.

is unique or unusual comes along and makes a lot of money, and the stu­dios all try to duplicate it. However, having said that, I also

believe that Hollywood is always looking for the same things. They always want films that will create an emotional experience for the audi­ence. There are certain genres of film that audiences always want. They always want romantic comedy; they always want thrillers and action films; they always want straight comedies. They are never really interested in musicals, honor, western, sci-fl except in certain corners of the market.

In the earlier days of Hollywood, before television came along, they made a much wider variety of films. They made more period pieces, epics, etc., etc. The total amount of things there are to see probably hasn't changed, just less of it is on the big screen. Much of the other genres have been taken by television.

HW: When you 're teaching your class, are you teaching your students to anticipate the next big trend, or do you teach them how to identify and take advantage of the current ones?

MH: Most of the people taking my class are trying to break into screen­writing. I tell them, 'Ignore trends. Don't try to write the dumb comedy because it's hot today.' By the time they finish their script and get it mar­keted, that fad would have passed. What they should be aware of are the basic components that all screenplays have. They should concentrate more o_n writing more from their own pas­s10n, then meeting those deeper, sort of core requirements that good screen­plays possess.

HW: What are some of those com­ponents?

MH: The absolutely essential ones are that you have to have a hero for the audience to root for; you've got to have some visible compelling desire that the hero wants to accomplish; and you have to have conflict, a big obstacle that the hero has to over­come. Those three elements are at the core of every successful movie. What I talk a lot about in class is how to get there: what gets us to identify and root for the hero; what kind of desire is a visible desire; and how does the conflict create the structure of the movie. There are a lot of details, and there is a lot of craft in achieving those underlying elements, but the under­lying elements are always the same. No different from a comedy to a

thriller to a drama. I make no dis­tinction between the genres. Structurally they are all the same, they just play to certain segments. I start with the core and expand outward.

HW: What's a movie that you study in your class?

MH: Sleepless in Seattle. It goes beyond just plot structure and the emotional level to a level of charac­ter development and theme. First you have to reach the audience emotion­ally, then lay in depth of character and create growth and theme. Sleepless in Seattle does all those things. On one level it's a very funny, very romantic movie. On a deeper level it's a movie about the need to take emotional risk - a very uni­versal issue.

It is nice to see old films, but the movies they should be watching are today's films. They should see all of the big movies. Those are the mar­kets they want to pursue. Casablanca is a great movie; it's one of.my favorites, but it isn't as much help to today's screenwriter as, say, seeing how Sleep/.ess in Seattle worlced. From that film there is a direct line to While You Were Sleeping. Sleepless also has another line that goes to When Harry Met Sally, and that movie in turn has a direct line to Annie Hall. The rea­son studios make those kinds of movies is because they have done well previously. That's why people who want to break into screenwrit­ing will have to be aware of what is qoing well.

HW: What movie should they see now?

MH: Apollo 13 - it's maybe the first terrific movie of the year. Successful movies are the ones in which the audience actually become the character, having the experience up there on the screen. People go to the movies so they can experience emotion, and the thing that makes Apollo 13 such a good film isn't that it's just interesting to see what hap­pens to those astronauts, it's that we become those astronauts. We are inside the space capsule. When they are in danger, we're in danger and we're scared. •

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From Page 21 more than 30 of his silver and found-object necklaces. Through 9/3. 1be Nature of Tiff any Selections from Tiffany's permanent collection, spanning the company's I SO-year history and showcasing 70 of its most exquisite designs. Through 8/13. Sages and Saviors in Chinese BuddbistArt Images from the Academy's permanent collec­tion of gaunyin and lohans (the "Bodhisattva of Compassion" and the expert monks who have attained a rarefied level of enlightenment). Through 8/20. Wrestlers, Riders and Dancers: Prints by 1bomas Handforth Llthographs that suggest Chinese stone rubbings, these works by Handforth were done on a press in the court­yard of his home in Beijing from 1930 to 1937. Through 8/6. Mission Houses Museum 553 S. King St. Open Tue - Sat, 9 a.m. - 4 p.m.; Sun, noon - 4 p.m. $5 adults, $1 kids. 531-0481 Agents of Change: A 175th Anniversary Exhibition of the Arrival of the Mission­aries Artifacts and images remembering the first company of American Protestant mission­aries to land in the Hawaiian Islands. Evolutwt1 of a Museum: A 75th Anniversary Exhibit Artifacts and images chronicling the evolution of the Mission Houses Museum. The three historic mission houses, built between 1821 and 1841, are located downtown, within walking distance of other photographic land­marks. Explore the daily life and work of the American missionaries on the grounds of the museum and discover the role the brethren and sistren played in 19th-<:entury Hawaii. Ongoing. Pacific Aerospace Museum Honolulu Inter­national Airport, central waiting lobby. Open Sun, 10:30 a.m. - 6 p.m.; Mon & Tue, 9 a.m. -6 p.m.; \'l'ed - Sat, 9 a.m. - 9 p.m. 839-0777 Dedicated to commemorating aerospace achievements of the Pacific. Ongoing. Wiklife Museum 1190 Dillingham Blvd. Open daily, 8:30 a.m. - 4:30 p.m. $6.95. 848-0660 On display are more than 360 specimens of wild animals from 42 countries on six conti­nents. Ongoing.

ADHD Workshop/Support Group The Leaming Disabilities Association of Hawaii's monthly meeting for parents of children with Attention Deficit Hyperactivity Disorder. This month's speaker is 12-year-old Tony Pierce, who will show a video that explains a method of discipline that he feels has worked for him. In addition, Tony will share what it is like to have ADI-ID. All parents and families are wel­come. Honolulu Central Seventh-day Adventist Church, 2313 Nuuanu Ave.: Thur 7/20, 7 - 9 p.m. Free. 536-9684 Ballet Workshops American Ballet Theatre Ballet Mistress Alaine Haubert blends classical ballet technique, exploration of personal ener­gy and the joy of physical challenge in a series of two-hour sessions. Previous ballet training (and pre-registration) required. Temporary Dance Building, UH Manoa campus: Sat 7 /22 - 8/5, IO a.m. - noon. $14 per session, $37 all three sessions; $7 per session UH Manoa dance students and Hawaii State Dance Council mem­bers. 956-8244 Ceramics in Hawaii UH Manoa Professor Suzanne Wolfe lectures as part of the F.ast-West Ceramics Collaboration. Art Auditorium, UH Manoa campus: Tue 7/25, 7 p.m. Free. 956-5264 CPR/Basic Life Support Class An intro­duction to basic life support, including anato­my and physiology of the heart and lungs. Risk factors and signs and symptoms of cardiac arrest will also be reviewed, along with sug­gested lifestyle changes to avoid heart disease. Participants will learn basic one-person CPR and how to save a choking victim, and those who succesfully complete the class will receive a CPR/BLS certification card. Reservations required. Castle Center for Health Promotion, 46-001 Kamehameha Hwy.: Mon 7/24 & Wed 7/26, 7 - 9 p.m. $25. 235-8737 Herb Fanning Learn how to grow herbs as a business in your backyard. Soil preparation, fertilization, pest control, harvesting, post-har­vest procedures, uses and marketing will all be covered. Specific plants to be discussed include lemon grass, basil, tarragon, dill, sage, thyme, tagetes, mint, chives and oregano. Na/a Farms, 41-574 Makakalo Rd.: Sat 7/22, 9:30 -11 :45 a.m. $13.50, $7 Lyon Arboretum Associa­tion members. 259-7698 Mended Hearts Group A support group for anyone who has had open heart surgury or who has heart problems, their families and friends, health care professionals and anyone

else who is interested. Tbe Queen'.5Medical Center, 1301 Punchbowl St.: Thur 7/20, 7 - 9 p.m. Free. 547-4775 Ripe Fnlit A one-day creative-writing seminar with poet, playwright and author Leslie Kirk Campbell (a.k.a. Pumehana), who has taught both privately and in the California university system. Pre-registration required. Call for meet­ing place: Sat 7 /22 or Sun 7 /23, 9:30 a.m. - 5:30 p.m. $75. 373-4779 Sea Partners What marine debris is, where it comes from, the damage it causes and meth­ods of prevention will all be covered by Lt. Commander Tun Lucas of Hawaii's Sea Partners. (But can he explain exactly where sea mon­keys come from?) Campus Chapel, Kapiolani Community College Diamond Head campus: Thur 7 /20, 7 - 8 p.m. Free. 734-921 1

Kids Ko'olau !<limbers A hardy hike for 6- to 8-year-olds and their parents. Climb into na Ko'olau and explore the ecology of the moun­tain, a natural spring, three stream crossings and spectacular views. Reservations required. Call for meeting place: Sun 7 /23, I :30 - 4:30 p.m. $5, $3 Hawaii Nature Center members. 955-0100 The Mermaids at Hanauma "A funtastic musi­cal" presented by Act One Children's Theater. Performed by young people and recommended for summer fun. pre-schoolers and families. Kailua lntennediateSchool. 145 S. Kainalu Dr.: \X'ed 7/19 & Thur 7120, IO a.m.; Fri 7/21, IO a.m. & 7 p.m. $2. 261-0457 Overnight with the Sharks Shark researchers Jerry Crow, Chris Lowe and Brad Wetherbee explain shark form and function during this novel overnighter. Participants construct and test their own simple shark models (hopeful­ly not on each other) and get a close-up view of the Waikiki Aquarium's new shark exhibit and its inhabitants. For adults and families, minimum age 5 years (youngsters must be accompanied by an adult). Evening refresh­ments and a continental breakfast ( what, no chum?) are included. WaikikiAquarium, 2m Kalakaua Ave.: Fri 7 /21 - Sat 7 /22, 7 p.m. - 8 a.m. $16 adults, $14 children; $14, $12 mem­bers. 923-97 41

Hikes and Walks Chinatown Walking Tours The Chinatown Historical Society offers two different tours of Chinatown and Foster Garden every weekday. No reservations needed. Meet inside Asia Mall, 1250 Maunakea St.: Mon - Fri, 10 a.m. & I p.m. $2 (plus $1 for Foster Garden admission). 521-3045 Diamond Head Hike Hike or walk? Well, it's no Everest's north face, but the view's still good, you get a chance to learn some fascinating facts about our most famous landmark, and there are plenty of good scaring opportunities in those dark tunnels. Bring a flashlight. Meet at the front entrance to Honolulu Zoo: Sat, 9 a.m. - noon. Free. 948-3299 Hawailloa Ridge Sierra Club volunteers are rebuilding a mile of ridge trail at this beautiful part of Oahu. Bring a lunch and two liters of water. Tools and refreshments will be provid­ed. Meet at Kawaikui Beach Park (Puuikena Drive and Kalanianaole Highway): Sat 7/22, 8:30 a.m. Free. 538-6616 The Magic of Waikiki Visit bathing places of the alii and luxurious homes of certain wealthy malihini as you relive the history of Wacky­wacky. Pre-registration required. Call for meet­ing place: Tue 7/25, 6 - 8 p.m. $5 adults; $4 students, seniors; $2 children. 734-9245 Manoa Falls to Pauoa Flats Climb to Manoa Falls, then keep on going to Aihuilama Trail and Pauoa Flats and the Tantalus trail system. Moderate, 6 miles, four hours. Reservations required. Cal/formeetingplace: $5, $3 Hawaii Nature Center members. 955-0100 Waahila • Kolowalu A 5-mile, novice-rated ridge trail with views of Manoa valley and the ocean. A good bird watcher's trail (the apa­pane has been sighted here). Meet at Jo/ani Palace, mauka side: Sat 7/22, 9 a.m. $2. 422-7830

Whatevahs An Afternoon of Romance Something Hitchcock might have cooked up: over 100

romance novel authors all in the same build­ing. Greet the authors, have them autograph their books, buy the commemorative T-shirts, take photos, but for goodness sake, make no sudden moves - we don't want to stampede 'em. Borders Books & Mu.sic, Ward Centre, 1200 Ala Moana: Fri 6/21, 4:30 - 6:30 p.m. Free. 591-8995 Buddy/Volunteer Orientation An orienta­tion session to help acquaint prospective vol­unteers with the mission and volunteer opportunities of the Life Foundation and Pacificare. In addition, a basic overview of HIV/ AIDS will be given, along with practical tips on how to prevent HIV transmission. Call to register. Winsted/ House (Paki Hale), 3840 Paki Ave.: Thur 7/20, 5:30 - 9 p.m. Free. 924-6868 Ho'olauna Pu Kakou Halau Mahala Ilima, directed by Kumu Hula Mapuana deSilva, holds their annual fund-raising "Ho'olauna Pu Kakou." Various hula classes will perform works in progresi;, and Kawai Cockett will entertain. Also: Spam musubi, desserts, juice, soda and halau T-shirts will be sold at the event. Lanikuhonua Estate ( next to Jbilani Resort): Sun 7 /23, noon - 3 p.m. $5. 26I-o689 Manoa Valley Theatre Aucfrtions MVf audi­tions for The Song of Singapore, a musical set in a waterfront bar in 1941 Singapore. The show is performed by an ensemble cast of eight including "a swmging instrumental quintet, a zany, but sensual oond singer (female), a singing, seductive Dragon Lady who plays washboard and a multi-faceted actor capable of playing a wide range of character types and voices." Penisal scripts and soundtrack available for reading and listening (bring player and head­phones) on premises 9:30 a.m. - 5 p.m., Monday through Friday. Kawaihao Tbeatre (downstai1s), Mid-Pacific Institute, 2445 Kaala St.: Fri 7!21, 7 - IO p.m.; Sat 7 /22 I - 5 p.m.; callbacks as nec­essary, Sun 7/23. 988-6131 Oscar Meyer Talent Search Find out who will be the next big wiener (er, winner) as Oscar Meyer quests for a new child spokesperson. ( Oscar Meyer being a equal opportunity employ­er, fat kids, skinny kids and, heck, even kids with chicken pox are urged to apply.) Harborside Mainstage, Aloha Tower Market­place: Sat 7/22, 10 a.m. - 3 p.m. 528-5700 Volunteer Guides Applications are now being accepted for the Honolulu Academy of Arts' IO-month training course for volunteer guides. It's a chance to meet new people who share your interest in art and art history. No previ­ous formal instruction in art is necessary. Classes to be held every Monday beginning in September (college credit is available for UH and community-mllege students). Call for appli­cation information: 532-8726

1be Neighbors The 14th Annual Kapalua Wine a Food Symposium Three days of gourmet meals, fine wines and general overindulgence. Event tickets are available a la carte or as a package for the three-day affair, and specially priced accommodations for symposium attendees are available through the Kapalua Bay Hotel & Villas. Kapalua Bay Hotel & Villas and the Ritz­Carlton Kapalua, Kapalua, Maui: Thur 7/20 -Sat 7 /22. 1-800-527-2582 The Sixth Annual Big Island Slack Key Festival The title says it all, almost: Raymond Kane, Ledward Kaapana, Moses Kahumoku, Cindy Combs, Elmer Lim, Arthur Edwards, Joanie Komatsu, Willie K, Robert Keliihoomalu & Family, Walter Carvalho and Ozzie Kotani are just some of the guitar greats scheduled to perform. And all for only $5! Afook-Chinen Cil1c Auditorium, Hilo, Hawaii: Sun 7 /23, noon - 6 p.m. $5. (808) 935-8853

Gay GLCC Banquet Celebration and Dance The largest community banquet and dance of the year. Featuring entertainment by Tony Conjugacion and Kawika Trask & Friends, din­ner and a silent auction. Hibiscus Room, Ala Moana Hotel, 410 Atkinson Dr.: Sat 7/22, 6 p.m. - midnight. 951-7000 GLCC Volunteer Meeting Speaking of the Gay and Lesbian Community Center, here's a chance to learn how you can help out. Call for meeting time and location: Thur 7 /20. 951-7000 •

At two shows at the Academy of Arts , jewelry makers - one revered, the other irreverent - make fashion and other statements .

rts an

Tiffany's "Dragon Brooch," Donald Clatlln, 1960

N I K K I T Y - T O M K I N S

nee again the Honolulu Academy of Arts presents an intriguing show in which art, history and social cus­toms combine to offer the viewer an aesthetic and in­tellectual treat 'The Nature

of Tiffany" comprises some 70 silver objects and pieces of jewelry from the Tiffany & Co. Permanent Collection as well as several of the original designer sketches and spec­ifications. The accompanying notes by archivist Annamarie V Sandecki are replete with technical facts and historical comments and are well worth a perusal.

It is a panoramic show covering nearly 1 50 years of the creations of one of the world's premier jewelers and silversmiths. Tiffany & Co. was founded in 1 837 and from its incep­tion drew inspiration from nature's vast array of flora and fauna. When Japan opened to Western trade in 1854, Tiffany designers naturally gravitat­ed toward the Japanesque style and in 1 878 boldly displayed their inno­vative designs at that year's World's Fair in Paris. The upstart American company startled its European rivals by capturing the grand prix for silver work.

The "Grand Prix Spider Tray'' from that award-winning display is still a winner. A dramatic teardrop, lightly hammered and scored with a sweep of spider webs, it features a golden arachnid, an incredibly delicate drag­onfly and a single wonderfully ren­dered copper cannabis leaf. The insect's gauzy wings and the illicit leaf prompt a look at the accompa­nying designer's sketch, which reveals that the dragonfly's wings were engraved from natural ones and that the suspicious leaf is No. 4458 and most probably a version of Tiffany's signature grape-leaf motif.

But the stark simplicity of the Japanesque designs was only one facet of Tiffany's contribution to American decorative arts. Silver flat­ware and holloware played a key role in the daily lives of wealthy V ictorians, and lavish tea sets such as the "Grosjean & Woodward Tea Set," made in 1 8 5 1 , were much in demand.

With the change in dining fashions from a la franfaise, in which all cours­es were placed on the table simulta­neously, to the fashionable a la russe, which entailed elaborate place set­tings and several successive courses,

the scope of eat­ing utensils grew to almost ridiculous lengths. On display are such oddities as a series o tiny cherry forks, an unclassifi­able 'Thread Fish Slicer" and a "Pea Server."

Several lovely examples of jewel­ry are also on display. Louis Comfort Tiffany, son of founder Charles Lewis, is well known as the designer of the still-popular stained-glass lamps. But his love of color extended into an unconventional choice of gemstones for his jewelry. Eschewing the monochromatic diamond palette of the Edwardian era, Louis experimented with Montana sapphires and black opals with flourishes of enamel. Tiffany designer G. Paulding Farnham carried the art of enameling to its zenith with a series of orchid brooches, one lovely example of which is on dis­play. Contemporary accounts claim that only touch could distinguish the Farnham jewels from natural flowers.

Tiffany jewelers have carried their predecessors' love of colored gem­stones and natural motifs through the 20th century. Donald Claflin's 1960 ''Dragon Brooch" is a lavish and some­what garish confection of gold, plat­inum, diamonds and rubies; master jeweler Jean Schlumberger is repre­sented by "Ibex Clip," one of his ele­gant and refined designs still being offered by Tiffany's today.

Downstairs in the graphics gallery, "Becoming Chinese: Jewelry Art by Ron Ho" offers an eye-popping com­plement to the more sedate Tiffany fare. Hawaii-born Ho began his career as a painter but in the '70s, under the tutelage of nationally known jeweler Ramona Solberg, turned his attention to fashioning a series of extraordinary necklaces. The more than 40 pieces on display span nearly 20 years of Ho's career.

The earliest pieces feature enor­mous pendants suspended on multi­ple strands of color-coordinated beads or hanging from meticulously struc­tured and jointed collars. Fan Tan Ivory, with its two fan segments sup­porting a huge cable of golden seed beads, is an obvious harbinger of later pieces, which include exotic "found objects" from around the world.

In Shaman 's Charms the artist indulges his penchant for collecting cultural artifacts with an assemblage of Eskimo scrimshaw carving, Afghani soapstone charms and ostrich eggshell beads from Africa. A par­ticularly ap pealing touch is the small

rural areas.

silver charm­

box clasp, which ech-

Ho's craftsmanship is superb; each detail is lovingly worked, from the bezel for a found fragment of ivory to each of the seamless joints and clasps. But as he moves toward neck­laces "with a message," this distinc­tive jeweler's fine touch makes his foray into cultural statements and "problematic" pieces all the more intriguing.

The most recent pieces trace Ho's rediscovery of his Chinese heritage. Chinese objects as ornamental ele­ments, such as the beautiful antique silk-covered hair ornament that forms the focal point of The Kingfisher and the Ttger, are replaced with meticu­lously forged "dioramas." Using the image of a chair as a foil for each vignette, Ho creates a series of minia­ture scenes around and on it. In Dim Sum at the On-On Tea Room, tiny dumplings on a silver bamboo tray and a cup of tea are arranged on the chair seat. A rooster perches on the back above a pair of angled chop­sticks. The red of his coxcomb is picked up by the suspending rope of red glass beads, while a strange cohe­siveness is created by fusing a roost­er claw to one of the chair legs.

While it would take a brave afi­cionado of bold fashion statements to actually wear one of these cre­ations, as display objects they work wonderfully well. Under the skilled hands of this master jeweler, the neck­lace has become a vehicle for social and cultural column and has been transformed into a witty and fresh new medium. •

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Technology

Among the well,funded conglomerates with roots in computers , movies or mass,market publishing that dominate the CD,ROM

market , there is an immutable dissident voice : Voyager, the small company that started the whole business .

Voyaging with the Multimedia Literati

S T E V E D I T L E A

n a short decade, the bosiness of publishing CD-ROMs has exploded, making inroads into our literary sanctums. CD-ROM best-seller lists now appear with­in the hallowed pages of The New York Times Book Review

and Publishers Weekly. Well-fund­ed conglomerates with roots in com­puters, movies or mass-market publishing - Microsoft, Time Warner and Compton's - dominate marlcet share with shoot-' em-ups and painfully compressed encyclopedias. There is, however, an immutable dis­sident voice: Voyager, the small com­pany that started the whole business.

Since 1984, Voyager Co. has pio­neered the publishing of interactive multimedia, first with video laser disks and then with computer CD­ROMs. Just when it's in vogue to jet­tison intellect for entertainment, to be dumb and dumber, in its ads Voyager exhorts potential customers to "bring your brain."

Voyager co-founder Bob Stein, who leads the company's creative efforts, is himself an unrepentant believer in ideas. He remains an unre­constructed '60s-style leftist, urging his employees to boycott national elections and contribute to eij'orts to free the jailed guerrilla leader of Peru's Shining Path. His steadfast approach to politics is canied out as well in his company's successful resistance to tides of trivia and fashion washing over the CD-ROM industry. "The ability to have a longer-range vision, to measure things in decades rather than in quarters" is what a background in Maoist-Leninist-Marxist politics has brought to his career, Stein sug­gests. So while others succumb to gimmick, Voyager proceeds intelli­gently but without fanfare. Its mis­sion: to end the linear tyranny of printed words and sprocket film, lib­erating users to follow their own inter­ests and then dig deeper still, selecting interviews with experts and other tiered background materials at the push of a computer-assisted button.

Along the way, Voyager has bro­ken down the r�straints of the televi­sion screen, introducing "letterboxing;' the blanking out of the top and bot­tom of the frame so wide-screen movies can appear as they were made.

In 1987, with the introduction of Apple Computer's HyperCard soft­ware, Stein combined computer-stored words and images synchroniz.ed with an audio CD, creating the first com­mercial multimedia CD-ROM, Beethoven Symphony No. 9 CD Companion.

Voyager also can claim credit for release of the first full-length feature

film on CD-ROM complete with script and background materials: the Beatles' A Harri Day's Night, still the company's best-selling title.

One of the secrets of Voyager's suc­cess can be found in its alternative corporate ethos. More akin to a cul­tural institution than a multimedia conglomerate, Voyager has essentially been a not-for-profit venture. While hardly run as a commune or collec­tive, its profits have always been plowed back into the company; its four partners earn modest compen­sation by media company standards. Salaries are low, and advances are small for its authors. Still, dozens of CD-ROM projects are in the works, and countless reswnes keep arriving at 578 Broadway, the company's head­quarters in New York's fashionable Soho district Oearly, this is the multimedia

laser disks for docwnentaries, shorts, mu.sic videos and educational titles. These were to lead to the first con­sumer five-inch CD-ROMs.

Today browsing through Voyager's catalog is to savor the kind of classy paper-based publishing practiced over the years by the likes of Bennett Cerf's Random House in the 1930s and Barney Rossett's Grove Press during the 1960s. Voyager publish­es some 50 innovative multimedia works, like the First Person CD- · ROMs featuring artificial-intelligence guru Marvin Minsky and biologist Stephen Jay Gould. Also available are eclectic multimedia titles Freak Show, by San Francisco rock-music legends The Residents, and The Complete Maus, an interactive mul­timedia archive of artist and writer

Art Spiegelman's Pulitzer Prize-win­

place to be. ��:��:;:; Just when it's

ning graphic novel of the Holocaust Author driven, idea filled, culturally important, this is hardly the stuff of video games, the mainstay of today's West C<;>ast multime­dia production.

north of its high-pro­file Soho digs, in the peaceful Hudson River town of Irving­ton, N.Y. There, in a renovated boiler plant, labor William Becker, who heads the com­pany's Criterion Col­lection ( with close to 200 classic movies on laser disk and grow­ing), and Jonathan Turell, who functions as Voyager's chief operating officer. (Stein's former wife Aleen, another Voy­ager co-founder, runs the company's inter­national operations out of Paris.)

in vogue to jettison

intellect for

It was Stein's chance opportunity to buy laser-disc

entertainment, to be dumb

and dumber, in its ads Voyager exhorts

potential customers to "bring your

brain . "

Can it last? Stein ends his talk to a group of 200 profes­sionals with a multi­media call to action: "There's a tremen­dous struggle going on inside the world of media. It has to do with whether or not everything is going to be dominated by Hollywood and motion pictures . . . . You can't have a seri­ous dialogue by watching a movie; you can start to have

rights to Citizen Kane and King Kong that got Voyager going. After an initial investment of $ 10,000 for rights to the two Hollywood classics, Stein and his collaborators became the first to take advantage of 1 2-inch laser disks' interactive capabilities and superior image quality for video reproduc­tion. In addition to first-rate transfers of Citizen Kane and King Kong, Voyager's first Criterion Collection offered supplementary materials on disk, including production shots, trail­ers and film essays and audio com­mentaries by film historians. Subsequent Criterion releases would feature critique by top directors Robert Altman, Francis Ford Coppola and Martin Scorsese. Soon after start­ing their film-based enterprise, Voyager launched a line of 1 2-inch

a serious dialogue by reading what some­

one says and is thinking about it. It's very important that we look for dif­ferent ways to nurture people who are trying to do important intellec­tual things in these new media, who aren't simply trying to put the latest movie or game onto a CD-RO,M."

Recent news that the plug has been pulled on Putnam New Media, the CD-ROM division of the famed book publisher, sent shock waves through the multimedia industry. The impli­cation to many is that book-based CD-ROMs simply can't compete with the glitzy video entertainment that tops the medium's best-seller lists. But don't expect Bob Stein and Voyager to stray from their thought­provoking interactive path anytime soon. •

Advocate Newspapers

lDIDER RECORDS • "IDED • BOORS

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y AND THE RETURN OF BOOKER LITTLE

By Michael Woodring

" I 'm really surprised that no one has heard of him. I'm not trying to play

the role of educator, but it's great that I can introduce people to a major figure in modern jazz," says New York City trumpeter Dave Douglas.

"Him" is Booker Li ttle, a once promising jazz trumpet p layer who frequently collaborated with Miles Davis and percussionist Max Roach. Before he died of a rare blood disease, uremia, in 1961 a t age 23, Little and his sextet recorded a small jazz legacy. Contained in these recordings was the impetus for Douglas' new album, In Our Lifetime (New World/CounterCurrents) , a style that evokes the kinetics of passionate conversation, in which each contrasting

voice creates paths toward a harmony based not on stale agreement but on a respect, and even a need, for fluctuating differences.

Nine of the 12 tracks on this disc are Douglas originals. The remainder ai'e new arrangements of Little pieces. However, Douglas, heard of late on John Zorn's

Masada discs and Mark Dresser's The Cabinet of Dr. Caligari, flatly states, "I am not trying to emulate his trumpet or writing style. In Our Lifetime is for today, and I approached the work on it with music and views that are my own."

He achieves this goal by experi­menting w i th the songs ' internal tensions. A melancholy trumpet slowly gl ides around a br isk , upbeat percussion rhythm. The p iano melts from a background of dissonance and launches into an unexpected crescendo which portrays both jubi l a tion and pain . Tracks such as "Br idges" and "Three L i tt le Monsters" twist l ike serpents, constantly shifting the focus of the song from one music ian to another while never spl intering into jumbled incoherence. Douglas' desire to avoid the interpretat ion of In O u r Lifetime as a tribute disc is obvious. Instead, through the ghost of Booker Little, Douglas speaks to his audience with both stark candor and ephemeral

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N othing new about jazz that recalls the 1960s Miles Davis

quintet: Wynton Marsalis made it an '80s staple. But imitators rarely get past the surface, to what makes that music intriguing: how loosely intersecting rhythmic

cycles support free floating horns, in time as open as the space. Baikida Carroll's quintet on Door of the Cage (Soul Note, ****) gets the point. Tough, restless drummer Pheeroan akLaff can keep the pulse open even when he remembers the backbeats. Better yet, most of the time they don't sound like Davis' group or its knockoffs. One reason is the leader's full, confident trumpet tone, occasionally peppered with a dash of bullfight vibrato. (His tunes are good vehicles, too.) On brawny tenor sax, Erika Lindsay avoids Wayne Shorter's choppy phrases. Pianist Adegoke Steve Colson and bassist Santi DeBriano are also in uncommonly good form. This is Carroll's tirst album in ages; good to hear him again.

Final ly, the world seems to've figured out Johnny Griffin is an amazing tenor saxophonist. The title and notes to Chicago, New York, Paris (Verve, *****) posit some lame concept, but happily it's just Griffin blowing in front of two wide-awake trios:

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Kenny Barron, Christian McBride and the magnificent Victor Lewis; subs Peter Martin, Rodney Whitaker and the fine Gregory Hutch inson . Roy H a r grove trumpets ably on three numbers, but no one upstages Griffin. He

struts on the blues, slithers on the ballads, pulls you up short with some incongruous gesture-like a farting bleat capping a suave melodious line. His tone's deep and blue as ever. Griffin has kicked the excessive quoting that once obsessed him, and resists his old insanely fast show-off tempos. While another 67-year-old might consider himself lucky to maintain his chops, Griffin keeps refining his style.

Only Boston knows Joe Maneri, composition teacher, microtonality theorist, jazz saxophonist (tenor and alto) and clarinetist. His debut, Get Ready to Receive Yourself (Leo Lab, ***), almost all of it free-improvised, was recorded when he was 66. (A publicity sheet from his English label chastises America for neglecting him, but Leo made him finance it himself.) He's joined by son Mat Maneri, a good violinist who should trade in that planky electric fiddle for a real one, and drummer Randy Peterson, and sometimes bassist John Lockwood. If you know Albert Ayler's slow dirges, you'll have some idea what to expect: languid tempos, uncrowded textures. As you might expect from a microtonalist, when moaning long notes Maneri

explores subtle grada tions of pitch (and timbre: A growl might sneak in and out too). It's good, but a l i t tle u n i m p o s i n g , doesn' t ful l y demonstrate how striking Maneri can sound live.

Part of Roscoe Mitchell's Hey Donald (Delmark, ***) is a blindfold-tester's dream. Those who know the Art Ensemble of Chicago saxophonist's eccentric/microtonal intonation should recognize his nattering sopranino or soprano (off­pitch enough for kibitzer to ask sincerely, "Bagpipe?"), or alto that seems intent on drifting to another key, on the riffy title track or Lester Bowie's boppy "Zero." The blindfolded are unlikely to ID him as the flutist on a lively waltz, or the r&b tenor player on his dad's j aunty "Wa lking in the Moonlight." The latter, which kicks off the album, is a revelation. It's so down-home Southside, he makes you hear him as successor to older Chicago tenors Gene Ammons and intonational eccentric Von Freeman. It puts Mitchell's skewed vision in context. The rhythm section is old Chicago pals, bassist Malachi Favors (with whom Mitchell plays four duets) and pianist Jodie Christian, plus ringer Albert "Tootie" Heath on drums, a heavy swinger of the old school who's more than welcome anywhere. Hey Donald is alternately delightful and vexing, which is Mitchell all over. -By Kevin Whitehead •

Stories i n th is supplement a re excerpted from the July, August and Septem ber issues of PULSE! Magazine, ava i lable i n a l l Tower Records/Video stores. Edi ted by Jason Verl inde. Designed by Timm Freeman. Advertisements designed by Rick Wong.

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H ow ever useful as indicators of quality, star ratings are

woefully problematic . And not because they're "subjective . " (What attempt to determine and, then, designate value isn't subjective?) No, the problem with

stars isn't assignation-doling out grades . I t 's interpretation-how to respond to critical judgments.

For example, Blue Note's Rare Groove Series is indisputably a three-star project (well, four if you're a soft-touch; two if you're a curmudgeon). It boasts titles-some reissued, others never before released­much coveted by acid-jazz fans in the U.K . : Lou Donaldson's The Scorpion and Everything I Play Is Funky, John Patton's Boogaloo, Ronnie Foster's Two­Headed Freap, Lonnie Smith's Live at Club Mozambique, Donald Byrd's Kofi and Grant Green's Carryin ' On. None, however, is likely to provoke anything resembling critical adulation. Why? Because on one level, these records from the late '60s and early '70s are interchangeable. They're respectable creations of journeymen musicians. They represent the ultimate popularization of modern j_azz: the language of bebop translated into fodder for mythically greasy chicken­shack jukeboxes.

But while awarding an album three stars amounts to a refusal to canonize, that rating is not

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calculated to ward off listeners. After all, the pleasures granted by a record are not necessarily pro­portional to its uniqueness. Ignore Wes Montgomery's Impressions: The Verve Jazz S ides (Verve, *****), Dizzy Gi l lespie's The

Complete RCA Victor Recordings (Bluebird, *****) and Duke Ellington's The Far East Suite-Special Mix (Bluebird, * * * * * ) and your record collection resembles swiss cheese. All three are benchmark recordings, absolutely essential. Miss out on Ronnie Foster's Two-Headed Freap? Sharp-suited jazz police won't buttonhole you, but the pleasure principal (wearing sharkskin) might just nail your butt. Point is, anybody with a modicum of knowledge can identify historical significance; it's simply a matter of consensus. Pleasure is whole lot more slippery.

And that's a roundabout way of declaring, soul jazz-at least to these ears-sounds better today than it did 25 years ago. It's now receivable as the jazz equivalent of blaxploitation movies: socially conscious, self-aware, campy and arch-the very stuff Beastie Boys and Blues Explosions dote on. George Clinton would probably chalk its increased allure to funk getting stronger. Ishmael Reed would consider it an instance of "jes grew," the creeping, indomitable spirit that sustains African-American music.

His poems inform Music for the Texts of Ishmael Reed (American Clave, * * * * ) and Cab Calloway Stands in for the Moon (American Clave, ****). The former recording is a jazz-blues sort of throwdown, with most vocal duties covered by Taj Mahal. The

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latter blends soul-jazz melodies and Afro-Cuban rhythms (Bobby Womack clocks in for several cuts ) . Both are credited to Conjure, a loose aggregation of gun-slinging birds hired by Kip Hanrahan and held together by a

cadre of rhythm aces : Steve Swallow, Allen Toussaint, Leo Nocentelli, Milton Cardona and Robbie Ameen. David Murray, Don Pullen, Olu Dara and Lester Bowie provide requisite brashness.

That quality, foiled by restraint, makes Woody Shaw's The Moontrane (Muse, * ***) undeniably vibrant. Situated on the cusp of m�instream and avant-garde j azz, it looks forward to the late trumpeter's best mid- '70s work for Columbia. Finally, there's Glenn M i l ler, king of three-star records. Swinging Instrumentals and The Essential Glenn Miller (both Bluebird) may not swing as mightily as sides recorded by Basie or Lunceford, but no lie, they sometimes rock. -By Michael Jarrett •

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Food

An imaginative and satisfying meal may be just around the comer.

Corner Store Cuisine M A R I L Y N W A N N

eagulls are small-brained birds. I'm convinced they're capable of only two thoughts. You can see it in their eyes. All they're think­ing, over and over, is , "What is it?" and "Can I eat

it?" When I walk into a corner store, I have the mind of a seagull.

I stomp about, picking things up and putting them down. I'm seduced by shiny packaging. I try to eat things that are not particularly edible. In short, I have such a good time that foraging for my meals in the corner store has become a way of life. I'm not the only one.

I see people in line ahead of me, and they're not buying snack items or cigarettes. Nor are they part of the malt-liquor-and-schnapps set. No, they've got pork 'n' beans, sour cream, a cucumber. I can't help but wonder what they're planning. Some exotic Middle Eastern salad? A new type of facial? A kinky sex scene with extra roughage?

Constraint stimulates artistry. Just as a painter daubs on a canvas, just as a masseuse relies on fingers and toes, the corner-store gourmet creates sat­isfying dishes from a short list of available ingredients. Any hungry hipster can stop in for chips and a soda. It takes a real artist (who thinks o�tside the box, yet refuses to walk more than a block) to create a true concoction.

The first rule of corner-store cuisine is, Don't skimp on the condiments.

At its best the corner store is an essentially urban cornucopia. At its worst it's arugula-free dining with a hefty markup.

The second rule: Don't eat too much pasta.

, Try to get a variety of the four cor­ner-store food groups: canned, frozen, bottled and, of course, pasta. Pasta's ease of preparation causes the dreaded Ragu burnout in many a corner-store novice. If you must noo­dle, try topping the dish with heated canned chili and cheddar cheese for a change.

The third rule of comer-store cui­sine is, Don't count the fat grams. You don't want to know. If you per­sist in that behavior, you'll become one of those boring types who reads labels in the pet-food aisle of the supermarket. Corner-store wares may be nutritionally challenged, but where else can you find gro­cery items arranged according to their true natures, not forced into the cold corridors of supermarket logic?

Rule No. 4: Kitsch can be nour­ishing. (Why do you think they call it a kitchen?) The aesthetic pleasures of the corner store have inspired the great writers and artists of our day. Experimental-fiction writer Donald Barthelme celebrated corner-store

cuisine in his brilliant piece "Three Great Meals."

For breakfast he suggests a chicken-and-dumplingsesque com­bination of shredded leftover Pop­eye's fried chicken and biscuits. A packet of powdered gravy doctored with onions, broth and cheap white wine completes the effect. Lunch is a casserole of canned tamales, canned tomatillo salsa, chopped onion and cheese baked in a "small, oven-going vessel."

Barthelme's "dinner for 60" is a fictional stew of five cooked hams, 30 pounds of miniature sausages, buckets of canned black-eyed peas and canned tomatoes and, finally, a roux that requires 10 pounds of flour and five frozen ducklings for flavor balancing. It cooks in large pots on four six-burner stoves.

People who work at home

know the importance of a meal that

can be prepared ( and

sometimes even shopped for) during a commercial

break.

In the true spirit of comer-store cuisine, performance artist Laurie Anderson advises traveling cooks to make "hotel-room hot dogs." First, unplug the electrical cord of your hotel room's lamp and sever it, leav­ing about a foot of cord to plug back in. Use your wire strippers to remove the protective plastic from half the length of the cord. Thread the exposed wires into two hot dogs and plug in for about half a second, or to desired doneness. Try to avoid cooking yourself in the process.

The futurists, although they railed against pasta as the enemy of progress, would have agreed with the comer-store aesthetic. The Futur­ist Cookbook urges dinner guests to rub their fingers over sandpaper while sampling an odd variety of foods. Likewise, the main appeal of corner-store cuisine is not always its flavor.

People who work at home (free­lance writers, 'zine editors, growers of small shrubs) know the importance of a meal that can be prepared (and sometimes even shopped for) during a commercial break. The comer store

is our lifeline. There's nothing worse than missing the scene in which Erica gets paralyzed during her big fash­ion show on "All My Children" because you were out buying gro­ceries. It's very unprofessional.

Here are a few of the wonderful dishes made possible by corner stores. You'll be amazed to learn how you can plan and prepare an entire dinner menu without leaving your own city block!

For starters, I enjoy an old standby that some palates find a bit chal­lenging: Combine liver-flavor pot­ted meat product with sour cream. Mold, chill and serve, just like pate.

Polish burritos, comer style: Slice a Polish sausage lengthwise, but don't think about it too much. Wrap the sausage with some mozzarella in flour tortillas, and microwave or broil until gooey.

Paella del corner store: Cook Minute Rice, substituting a jar of salsa for the water. Add canned shrimp and black olives.

Comer store curried vegetables: Steam a block of frozen mixed veg­etables or frozen peas in a pan till defrosted. Add three or four table­spoons of curry paste (I know curry paste isn't exactly available in comer stores, but it's worth a special trip to the supermarket. You can keep it in that large, food-rotting device that clutters up the kitchen) and simmer until the veggies are just cooked. Remove from heat and stir a small container of cottage cheese into the vegetables.

Clam sauce della corner store: Buy canned clams. Drain and reserve the clam juice. Saute the clams in olive oil for a minute or two, then add a couple of tablespoons of tomato sauce, salt, pepper, oregano, garlic powder and a sprinkling of the clam juice. Serve over pasta.

And what would a meal be with­out dessert? Here are a couple of inventive sweets to finish off any repast.

Mousse au chocolat et mocha du coin: Make instant chocolate pud­ding with half-and-half instead of milk. Add some leftover espresso from your morning fix. Don't mix too thoroughly - if you 're like me, you like it chunky.

Corner store trifle: You'll need a bag of Pepperidge Farm Milanos (any flavor), instant custard, straw­berry jam, whipped cream and one of those nifty little half-pints of rum that they only sell in corner stores. Make the custard. In a big bowl, layer the ingredients lasagna-style in the order presented, dousing them with rum as you go. Let it sit awhile. Be sure not to operate heavy machin­ery after enjoying this dessert.

The last rule of corner store cuisine is, Always remember that satisfac­tion (and that pleasantly full feeling) are just around the corner. •

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ff hawanan Reqent Phone: 922-6611 • 2552 Kalakaua Avenue

July 19, 1995 • Honolulu Weekly• 27

t •

T H E I N T E R N E T

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28 • July 19, 1995 • Honolulu Weekly

V O C A L R E C I T A L

An l tJJ iJn Even ing : Concert of Songs f roP1 ltJJ idn OperJ ,vi th Keith l kJ iJ -Pur<ly, tenor, Jn<l C. Robert HeJg, p iJn ist

Friday, July 28 8:00pm, Orvis Auditorium $1 5 general, $12 students/seniors

Lyric tenor Keith lkaia-Purdy, a native Hawaiian who received his early musical education at the Kamehameha Schools, is a

rising star in the opera world

Tickets available at the UHM Campus Center Ticket Office or may be reserved in

advance by calling

of Europe where he has been a member of the Vienna State Opera since 1 992.

956-EVENts For more information ca l l ( 9 56 - 3836 )

956-SUMMer R E C I T A L (956-7866) l\. Pid110 Concert of ltd] id11 Operd Music by Cd r] Robert HeJg

CO-SPONSORED B Y THE F'RIENDS OF ITALY SocIETY OF IIAWAI'I. FuNDED IN PART BY THE � IIAWAI'I COMMITTEE FOR THE HUMANITIES AND STATE FOUNDATION ON CULTURE AND THE ARTS, WITH SUPPORT FROM BISHOP EsTATE·KAMEHAMEHA ScHOOLS, ITI SHERATON HOTELS & REsoRTS IIAWAil, AND BORDERS BooKS AND MUSIC.

Saturday, July 29, 8: Orvis Audi $1

s 'gh • • •

try tit Well they're gonna . . . for just - !!

Summer Follies

"side-splitting laughs .. . you have to be there." - The Honolulu Advertiser

Tickets also available at the Blaisdell Box Office & Connection Outlets

S \I' I ll 11 .\ \ , ,J i . I. \ 2 2 :\ II , U I' ll

H 1. ., 1 s u ic 1. 1. C o :1. 1 · 1i n I" II , 1. 1.

.J.1.AW.A l l 'S .Q IGG.CST N IG.J.IT 04= CO ffi.CDV _ • • • A l l P r o c e e d s W i l l B e U s e d To S u p p o r t F , , s t N i g h t H o n o l u l u • • •

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W hen wrapping your baking spud in aluminum foil, should you wrap shiny side in or shin.v side out? I could swear I was taught in

school that shiny side in will help it retain heat bette1; making it cook faste,: Howel'er, I know a guy who says you shoul.d always keep the shiny side away from your food, the rea­son being that the shiny side is shiny because it 's treated with a danger­ous chemical. and you don 't want the chemical getting into your edi­bles. When I asked him why on earth they'd cover one side of the foil with a dangerous substance, he replied that shiny foil sells better than dull foil, and the only reason they don 't coat both sides is th.at they want one side to be safe enough to put next to food. Personally, I think the guy 's nuts, but then again, he 's got a Ph.D. in engineering, while I am just a hum­ble product of the Louisiana public­school system. Still . . . dangerous shiny chemicals ? Come on. -Ray Shea, i·ia the lllfemet

M akes perfect sense to me. Ray Big corporation mar­kth rroduct used mainly in food preparation. Coats one side with poison to boost

sales. Leaves other side uncoated so product can he used safely but -here ·s the tie�! part - doesn 't rel/ any�ody. Half of unmformed con­suming pubhL wraps spuds wrong side m. eats toxic result, dies horri­bly ! Big wrporation conceals shock­ing death toll for 50 years ! And rm queen of Romania! The trnth i, that the shiny side is not treated with a dangerous chemical. Mineral oil 1� used as a lubricant dur­ing the rol l ing process. some trace of which may remain on the finished foil - but it 's not dangerous. The shiny side 1s shmy because of the way foil is made. During the last pass through the rolling mill, a double thickness of foil is run between the rollers. The side of each sheet that comes in contact with the polished steel rollers comes out shiny. The other side has a matte finish. Having dispensed with the paranoid rumors. let's get down to the guts of the matter. Are you supposed to wrap stuff shiny side in or shiny side out? The official word from the Reynolds Aluminum people is as follows: "It makes little difference which side of the Reynolds Wrap® aluminum foil you u;e - both sides do the same

fine job of cooking, freezing, and storing food. There is a slight dif­ference in the reflectivity of the two sides. but it is so slight that labora­tory instruments are required to mea­sure it.'' However, when I first called up Reynolds. I got Terry. who was fill­ing in for Joe, the regular foil guru. Terry had the idea you were supposed to wrap food shiny side in. The quote above came later from Mary, by fax. Cecil loves PR people and believes everything they tell him, but when they contradict each other, he's sus­picious. I decided to conduct an inde­pendent test. I briefly considered calling my brother-in-law the physi­cist at the Oak Ridge National Laboratory, figuri ng maybe they could fire up the cyclotron. But that wasn't in keeping with the do-more­with-less tradition of "Straight Dope" kitchen science. I went out and got two baking potatoes, which I deter­mined were the same size by digital measurement (felt 'em). I also bought two identical meat thermometers and a roll of Reynolds Wrap® aluminum foil and wrapped the aforementioned vegetables therein, one shiny side in, the other shiny side out. Finally J stuck a meat thermometer an equal distance mto each spud. placed them m the Straight Dope Oven of Science and cranked her up to 450 degree� Fahrenheit (232 Celsius). Result: The shiny-side-in potato heated up more slowly than the shiny-side-out one and after 40 minutes was less thor­oughly cooked. Having been criti­cized in the past for generalizing from inadequate data, I repeated the exper­iment with another pair of potatoes. This time the shiny-side-out potato heated up more slowly. The Straight Dope Science Advisory Board. which is never satisfied. has sternl) inf01med me that I should test another 15,000 spuds before I draw any firm con­clusions. Given grossly inadequate federal funding for basic research, I wouldn't hold my breath. For now. however. my opinion is as follows: Shiny shminy. Put the foil on any way you want. •

Cecil Adams

Is there something you need to get srraigl1 1? Cecil Adams can deliver "The Stmight Dope " on any topic. Write Cecil Adams at the Chicago Reader. 1 1 E. Illinois. Chicago. IL 60611 . or e-111wl hi111 at cecil@chireade,:com.

r - - - - - - - - - - , I Present this coupon and save an extra 30% off our I

already low, low prices at all 3 Beyond The Beach stores I during the grand openings of our incredible new stores I at Pearlridge Center and the Ward Warehouse. Choose from Hawaii's biggest and best sunglass collection. The

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\��Happily eva Afta

Music and Lyrics by

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A /un, / ami/y slwu· featuring /1ilarious local adaptations o/ favorite /airy ta/es done in true island style!

Wednesday through Saturday performances at 8:00 pm

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734-02 74

July 19, 1995 • Honolulu Weekly • 29

c l a s s i f i e d s To P l a c e a C l a s s i f i e d o r P e r s o n - t o - P e r s o n A d , C a l l 5 2 8 - 1 4 7 5 , E x t . 1 1

ree . . . PERSON-TO-PERSON If you want to place a free Person-t.tterson ad Please use the coupon at the bottom of

this page. You may check to see if you have received messages by calling an 800 number. To retrieve your messages you must use a 900 number, which costs $1.99 per minute. You must be 18 years or older to use this

�rvice. Ads containing any material that ts obscene, inde.cent, sexually explicit or that would constitute adult entertainment will be rejected. Honolulu Weekly reserves the right to edit or refuse any ad and assumes no liability for the content of or response to any ad or message. If you want to respond to an ad lf the ad is followed by a five-digit num­

ber and a ff, call (900) 454-4120 to listen to advertiser's greeting and leave one of your own. This costs $1.99 per minute. lf the ad ends with "HW Box . . . b,"

send your written response to Honolulu Weekly with the HW Box number written in large letters on the bottom-left comer of the envelope.

Key S - Single G - Gay D - Divorced F - Female M - Male W - White B - Black J - Japanese C - Chinese

H - Hawaiian L - Local P - Filipino NS - Non Smoker ND -No Drugs HWP ­Height/Weight Proportio�te YO - Years old

PERSON-TO-PERSON

WOMEN SEEKING MEN Red haired teacher, likes bch, reading, exercise looking for easygoing, ro­mantic, fun, honest, N/D/S, ages 34-45. Friendship or ... 70455-a-

MEN SEEKING WOMEN Dreaming the same dream? Hand­some, SWM 35, dark hair, blue eyes, business owner. Seeking a Filipino/ Asian, Christian lady to share a life­time together. Send dreams to Mike POB 29459 Hon., HI 96820 70456'll' Ready for erotic, mystical, ethnic love affair (temp/perm) with attr, passion­ate, educ, fun, sharing, honest, athlet­ic, 38 pro SM who loves life, nature, arts, workouts? Wants attr, fit, SF 18-38 yo with same O's 70440'll'

MEN SEEKING WOMEN SWM who enjoys exercise & fitness, dining out, travel, books, movies and quiet evenings at home seeks attrac­tive, fit, petite SF for sincere, honest, monogamous relationship. NS/ND. 70448'll' r!:n Nude Sunbather Swimmer Seeks sun-worshipping wahine for fun in the sun & ocean recreation. HW Box 370r!:n Prof. wants lady for hi/lo culture; play, moonlite nites, laughs leading to live-in love. Eclectic age/race tastes 70454'8' r!:n SWM, 40, M.D., freq. visitor, ISO NS/ND woman, 25-40, for compan­ionship, tons of fun, mutual explora­tion. Photo. Box 23174, 96823. 70453'8' Suave SM w/Z28 seeks svelte SF 2 share sunsets, cinema and top-down soirees. NS. 350 Ward Ave. 106-90 Hon. HI 96814 7045 1'8' Tall, handsome, intelligent SWLPM, 3 8, seeks honest, attractive, intelligent F for friendship. 70458'8' Health Care Professional SWM, 43, wants to meet kind, spiritual SAP who loves mountains. PO Box 1 1652, Hon. 96828

WOMEN SEEKING WOMEN Attractive, sophisticated, Swiss/ French lady, mid 30's seeks DSWM, tall, financially sec. for serious rela­tionship. Tennis, dining, travel, POB 88303, Hon 96830 HW Box 368 b Looking for romantic encounters or just someone to talk with? I'm an at­tractive LAP, mid 30's, looking for SF 30+. CJ., 1440 Kapiolani Blvd., #108-238, Hon. HI 96814 Looking for that slim & sensuous' fe­male fruitcake. Me: handsome local, thirties, with a diabolical mind. Ad­mirable qualities, don't you agree? POB 240465 Hon. HI 96824-0465

MEN SEEKING MEN Handsome, athletic Asian M, 30, seelcs M w/ same qualities for friend­ship, fun or maybe more. Box 8049, Hon. HI 96830. 70449'll' Attractive GJM, 27, seeks masculine GW/L M for friendship & possible re­lationship. Witty sense of humor a plus. HW Box 369r!:n

Masculine, muscular, 27y/o, 6'2 190 BH/HZ. Bright, good heart, funny Ital. Prof. seeks similar· pal/friend for fun & explor. 70445'll' Caring LJM, works out, discreet, seeks WM to 38. Box 4191 , Honolulu HI 96812 SAHM Professional, worldly, good taste seeks intimacy in steamy rela­tionship. Willing to stir things up! Seeking the same. POB 38176 Hon. HI. 96837 70460'll'

OTHER PERSONALS Slim, attractive, eager single WF seeks· couples for discreet fun in the evening. POB 90993 Hon HI 96835-0993 LONE WOLF GRAPHICS Ray, please call 944-3398 SWM, 26, great shape and full of hot passion. Seek bi-females and couples for erotic pleasures. 70446'll'

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BILLBOARD

NOTICES & ANNOUNCEMENTS Does your personality determine your happiness? Find out why. 545-5804 JAMES

HIKERS NEEDED! Come to MAUNAWILI PARK in Kailua any day at 8:00 AM (or later) to help search for missing hiker Tim Pantaleoni, who disap­peared June 28. There is still hope of finding him! The search will continue until about July 19, or un­til he is found. Search organizers at the park will tell you what you need to know.

HELP WANTED

.1 Start here. Please include punctuation & space between words. End of BOLD line End of Standard line I I ..- ..- ..- I I I I I I I I I I I I I , 1 I

EMPLOYMENT

HONOLULU WEEKLY is looking for a Receptionist/Per­son Friday. Must have computer experience; AIR, classified ad sales helpful. Should be organized (and have the ability to help organize us). Part-time position with pos­sibility of full-time after trial peri­od. Please send cover letter & re­sume to: L.V. Carlson;

Kauai Bed & Breakfast. Single per­son, 3 days cleaning, etc. Live in, health oriented, refs. 395-7864

EMPLOYMENT OPPORTUNITIES Call Real Estate pros from home. Of­fer FREE listings & awesome new listing service. Great commission income ! RE/computer knowledge helpful. 526-9 1 1 1 . FORTUNE SEEKERS Looking for talented people to train; Those who think like winners-Posi­tive minded-self motivated-Persistent & Focused. I made 4 1K in the last 3 mos. Do you have what it takes? Call 847-3224. Serious inquires only! Honolulu Weekly Seeking Account Executive This is an opportunity for a performer with a proven track record in print ad sales. Promote a high-quality publi­cation with a unique market niche in an exciting, growing company. The ideal candidate will bring creative skills and an energetic working style. Please send cover letter, resume and

· compensation requirements to: Laurie Carlson; Honolulu Weekly; 1200 Col­lege Walk, Suite 2 1 4; Honolulu 968 17 NEED REPRESENTATIVES, TRAINERS, MANAGERS NO EXPERIENCE REQUIRED! Looking for Motivated Self Starters! 578-7764 Leave Name/Phone number

BUSINESS OPPORTUNITIES AMAZING GROWTH!! MLM - Company Breaking Al l Records. Looking for a few people serious about making a Fresh Start. Extensive Trng. Call 488-4640 (9:00am - 7:00pm)

JOBS WANTED Exceptional Caretakers Looking for spectacular home/estate to give their TLC. Unique references. 595-0038

MARKETPLACE New IBM Aptiva 486/66 540 HD, 2XCD-ROM, Fax Modem, 4MegRam SoundCard, Speakers, lMeg Vid Ram, 3 yr IBM warranty. Setup computer + install Internet Soft­ware. $ 1 ,250, John 949-3565 Packard Bell Pentium 60/8Ram = $1 ,550 OWN A PIECE OF LOCAL HISTORY

Pritchett ORIGINAL PEN & INK

CARTOONS & CARICATURES 921-2878

COMMISSIONS ACCEPTED

FOR SALE SS CUT G ROCERY B I LLS SS

ney using n books.

I I ! I I I ! I " �����!:!.....J I '. i I L - - -·;.;;;. '";;.; - - - -� ·��--;.;;.-� -.;.; �-�-.;;;.�� ;;.;···� -;;;.; .. �. �-.. � .J JoaJuly 19, 1995 a Honolulu Weekly

TRANSPORTATION

AUTOS 1979 Datsun 280 ZX, automatic, low miles,runs good. $1000/0BO. Ask for Rick. 737-7178 or 576- 1477 78 Datsun 'Lil Hustler Needs work. $500 obo. 528- 1475 x l 8

LNE THE DREAM! AN E LEGANT OPEN AIR FER.RARJ

FOR LESS THAN A LEXUS

$37,850 83 FERRAR! MONDIAL

FOUR PASSENGER CABRIOLET IN PRIST INE CONDITION

G R.EGIO EXT .. BLACK LEATH ER INT. 396-6669 OR 396-2280

OTHER 1988 Suzuki Savage 650, 19k, $ 1300 OBO. Must sell ! Laura 52 1 -8656 msg.

ART & MUSIC CD's, Audio and Video Duplication. AAztec Duplication. Call 1 -800-582-3999 for the best price in the USA. Male Singers Wanted Honolulu Men's Chorus, member of GALA, is seeking new singers inter­ested in joining. Music reading re­quired. Wednesday night rehearsal 7-� Contact Tim. at 261-6495 _ _

MUSICAL INSTURMENTS SAXOPHONES FOR SALE: Yanigasawa Elimona Straight Sopa­rano, 2 necks - Like new $ 1 ,900; Selmer USA Tenor, exc. $ 1 ,700; Will consider trade for Selmer or Keil­worth Alto. Artley 17-0 Flute, good cond. $200 OBO. Call 521 -6013 days Saxophones: Conn soprano 24K gold plate $900, 6M alto $600. 988-2565

MIND/BODY /SPIRIT DREAM WEAVER ARE DREAMS WARNINGS? OR FORESEE THE FUTURE?

DREAM INTERPRETATION

- LIVE - CALL

1-900-255-68001 Ext 370 $2.99 min I 18+ I TOUCH TONE

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INSTRUCTION TUTORING HELP book reports, reading & writing skills. 946-8 106 Wendi

COUNSHING & THBIAPY Jodi Counseling Service Clinical social work specializing in childhood trauma. Call 595-2464 for starting dates in Kailua area

HEALTH & RTNESS CHINESE MEDICINE • Clinic Stop Smoking, Weight Loss, PMS, Asthma, Impotence, Infertil ity, Chronic Fatigue, Sports & Auto­injuries, parking avail. 534- 1 147 HEALTH MASSAGE $30/hr Hours 9-7 M-Sun - 735-3933 MAT 2 1 3 16 THE TANNING SHOP Start off your summer tan now. For first time tanners, 5 sessions only $ 10, or tan for a week, only $20, up to 20 min. with ad. Call now, Downtown 599-5999 or Kailua 261 -5594 Time Out Massage Remember when summer was time to let go of stress and just relax? Put a little summer in your lunch hour. Mention this ad and get $5 off. 6 14 Cooke St. Suite 104D 596-7272. Good massage . . . nothing more, nothing less YOGA (HATHA) CLASSES Bikram's method. Days/Eves Pvt lessons avail*734-43 15

SPIRITUAVMETAPHYSICS The cards of Your Destiny

call Rose 945-2040

Reader of Hands & Cards

CLAIRVOYANT PSYCHIC Healing, counseling by Angela 284-4454

-Psychic Readings

Healing Past Life Regression

LIZA 293-010 I

PSYCHIC GUIDANCE LINE Predict Romance/Money /Health ! Expert Readings at Affordable Prices! CALL NOW l -900-255-6800x440 $2.99/min TchTone 1 8+ InfoService (2 1 3) 993-3366

TRAVEL & VACATION AIRLINE TICKET FOR SALE LATE JULY Honolulu • San Fransisco • Cleveland • Hartford Female $350, cash only call 528-1475 ext 11 Hawaiian Air discount cert . (Mainland) $60 off R/T. Exp 12/95. 1 750 Kalakaua Ave. # 1 9 1 2, 943-6770. $20 ea includes bonus. Hotel Coupons Neighbor Islands from $45 to $ 145. Expire Dec 95. Call 593- 1 133 ISLAND FEVER? Let's trade homes. You & your family can stay in our San Francisco view home & we can stay in your Hawai­ian paradise. We have 2 bdrms & 1 bath with a family room, solarium/of­fice & backyard. We'd like to trade for a week, a month, a year . . . Please call Jamie Silver 415-334-2308

RENTALS/REAL ESTATE RESIDENTIAL RENTALS Chinatown Gateway Plaza 1 bdrm apt near bus. W ID, 24 hr. se­curity, rec deck. 524-3737 Kaheka Street 6 to 12 mo. lease. Cozy studios, one and two bedroom apartments. $675, $775 and $975 per mo. Parking $30/ mo. W/Pool and Laundry. American Land Company, Ltd. 536-6 1 1 1 or 576-53 12 dig. pgr. eves or wkends. MAKIKI, Quiet, cozy I bdrm, furn, near bus, Parking $650 mo+dep+utils. Avail now. Call afternoons Chuck 524-4774

SHARED HOUSING 2 rooms, share house, near U.H. , $475/$600, util included. Covered porch, garden. 947- 1 322, 956-7563

Alna Halna Oceanside Share furn 2/2 with 1 female. Pool, pkg, w/d, tropical yd. $600 inc. util 739-2353

Diamond Head/ocean view. St. Louis Hts. at top. v. responsible, neat for large cool hs. Nr. park. $5 1 5/mo 737-6655 Hawaii Kai, own room. Share lg. quiet 4 bdrm house. Pool/spa. Look­ing for clean quiet prof/student. Gay household smokers OK. $525 Util incl. + $350 dep. 395-0529 HA WAIi KAI - $435. Looking for fem. roommate to share twnhse w/ pool, W/D, cov'd pkg. Scenic, quiet, & safe. 395-4755 (Iv. msg.) KAHALA, 3/2 fully furn twnhse. 6 mo lease. Mstr. bdrm w/bath. Share w/NS mature, pro. fem. TV,WD, la­nai , pool. A vai I 9/ 1 -2/29/96. $600+dep+ 1 /2 uiil References 735-6796 Kahaluu unfurn bdrm w/vu avil in peaceful, cool, 3/2.5 home. N/S. Must love cats. Deposit required & refer­ences needed. $450/mo. inc. utilities. 239-95 15 Kaimuki, close to Kabala F N/S to share 3 bdrm house. W/D, nr. bus line, Diamond Head view. Pets neg. Avail now. $435 + util. 739-5 188 Kapiolani nr date. 1 bdrm in 2 bdrm apt. Non-smoker, no pkg/pets, nr UH on bus stop $290 mo. 1 /2 util, dep, furnished, washing machine 942-3696 Share w/male Liberal male seeks same. Diamond Head, 1 / 1 , remodeled. $550, incl. util. 923-7796 Makiki-furn. 2 bdrm, pool, pkg. stall, N/S, nr. bus. $500 523-6 104 NATURISTS/NUDISTS Two Pro M (friends, not lovers) seek NS/D 3rd (4th?) to find and share house to live indoors/out as nudists. Resp. clean, neat, working w/ref. Sin­cere only. 735-41 14, 5pm- I0pm

SHARED HOUSING Nuuanu + Kapolel $475 Yard, view, parking, fem. N/S, W/D, A/C, quiet. $475 furn rm & bath $375 share bath new home, Kapolei 595-7364 Nuuanu On Stream. Great house w/ yard. 2 caring, considerate M/F look­ing for 3rd, N/S N/pets $400+ util. Avail 7/30. Pis call Elaine 538-0490 Steve 537-3830 Palolo-own rm in 3 bdrm-quiet, re­spons, N/S pref. Nr UH, nr bus, mar­ket. $400 +utils. 735-7623, Iv mes­sage, Bart/Tim. Salt Lake - 24th Floor Own room/bath/pkg in secure bldg. Pool, spa, gym, WD, cable/util. $625. NS, straight. Andy, 836-7080

Guaran'feea Room . .. . . /·· .·.· · .. ' . n1

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4 lines for $20 (i°'�ludjng tax). Yourguaranteed Roornmate to Share ad will run for 3 weeks. To continue your ad for an

additional 3 weeks,contact Classified /.\dvertising,

528-,1475,Ext. 11 to continue this special

oft�r . . De9gline ... for renewaf is 4:()0pm oh the 3rd Wednesqayyourad is

publishe<l

Offer good thru 8131/95

WAIKIKI · 96815 1 large furnished bedroom

(room for 2 with two beds,

optional) Nice, very clean

apt., huge lanai, great view,

steps to bus & beach, prking

neg. $375 ea. or 1 for $600

Wilhelmina Rise • View! Large 3 bdrm - 30+ Female preferred. $550+dep. Incl. util, cov'd pkg, cbl. No Smoking - Avail. 8/1 732-5674

RENTALS WANTED

A D U L T S E R V I C E Bl/CURIOUS?? POST/LISTEN TO ADS FREE! 808-598-7222

HONOLULU SWINGERS! Get Names & Home Phone #'s. 1 -900-420-0420 Ext. 1 84 $2.95/min. 18+ zmc 702-593-0303. MEET LOCAL SINGLES Post/listen to ads Free! 808-596-7222

18+ Use Free Code: 8080 DONINATRIX SERVICE Bondage, Domination, Discipline, Cross Dressing. By appointment only. 951-5533 Exotic Dancers Available 1 8+ Use Free Code: 8088 Hawaii Swinger Magazine $5 to Box 727, Hauula, 96717

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1 1 30 NIMITZ HWY. PH: 521 -6699 at Nimitz Bus. Center Opposite End of Eagle Cafe

Quiet, responsible couple seeks 2 bdrm house or cottage w/space for or­ganic garden. Nuuanu to Kahala. Up to $ 1 ,200. 988-6050

RESIDENTIAL REAL ES'fflTE BIG ISLAND $21,000 2 acres (fs) $700 dn/$270 per month, 1 0% int. HI Lnd Rlty 1 -800-600-3 1 73 MAKAKILO CUFFS CONDO 2 bdrm, 1 has A/C, 1 1/2 bath, W/D, carpet, ceil fans, DW, lani, 2 prkg. 1 yr lease, $1050 + dep 578-4724 pager ON THE WATER Diamond Head 2 bdrm/2 bath comer unit. Gorgeous 1 80 degree view with privacy. Covered parking $845K FS Norpac Group, Inc. Robert V. Cooper (R)

946-5008

SERVICES Amazing Cleaners. Daily, weekly, monthly, move-ins, move-outs. We're not satisfied 'ti! you're satisfied. Call #735-6452 B&W PHOTOGRAPHER Will teach the art of developing your own work in private Jab (2 classes). Lab rental available 595-2952

FREE SPEECH OPINION POLL LINE

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July 19, 1995 • Honolulu Weekly • 31

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32 • July 19, 1995 • Honolulu Weekly

BIG BANDS! SALSA!

DANCING! FUN! T H E S E C O N D A N N U A L

HAWAI I INTERNATIONAL

AUGUST 3 SHERATON WAIKIKI: Tribute to

Stan Kenton featuring Jazz's hottest voca l g roup, The Four

Freshmen, Hawai i's prem ier jazz artist, Gabe Ba ltazar and the

UNLV Jazz Band

AUGUST 4 SHERATON WAIKIKI:

GABE BALTAZAR The Internationa l Jazz Al l­

Stars with Steve Turn� of STEVE TURRE Saturday N ight Live; Tiger

Okoshi , Japan's hottest jazz trumpet p layer; La lo Sch ifrin,

renowned pian ist and movie composer and the USC Jazz Band.

AUGUST 5 WAIKIKI SHELL: Blues & Latin Concert &

Dance N ight with Blues Master Wi l l ie PONCHO SANCHEZ K, the contemporary jazz rhythms of

World Beat with Ba i ley Matsuda & Caba Seke and Sa lsa's

dynamic star, Poncho Sanchez.

AUGUST 6 WAIKIKI SHELL: Big Band Blow

Out! Fun ! Dancing! 5 Big Bands: USC, UNLV, UH, Punahou & Oahu

Band Di rector's H igh School Select Band with members of the

Cotton Club and specia l guest soloists includ ing Tiger Okosh i,

Buddy deFranco, I ra Nepus and Bunky Green . Plus scholarsh ips

of up to $50,000 for Hawai i's students!

TICKETS: Sheraton $25/$30 Shell S 1 5/$25/$30

Blaisdell Box Office 52 1 -291 1 (for Waikiki Shell) or call The Connection at 545-4000.

DISCOUNTS to students, seniors, military, unions and Bankoh Visa & Access Cardholders.

SERVICE CHARGE WHERE APPLICABLE.

TIGER OKOSH I

ALL

SHOW

TIMES

7PM

I Sheraton I HOT E LS & R E SORTS

WAIK IK I