‘The Descendants’ shows hollywood can get it right
Many a movie has been filmed in Hawaii, and some have even been about Hawaii. Invariably, however, they represent the points of view of outsiders. No matter how well-intentioned, the filmmakers are on the outside looking in, occasionally trying to gin up empathy or understanding for islanders.
“The Descendants,” based on the novel by Kaui Hart Hemmings and released in November, gets it right. Director Alexander Payne’s film about a splintered, old-money, mostly haole family in the midst of multiple betrayals — personal and moral, social and ethical — lopes with easy comedy and sharp observation to a conclusion that feels like part of a process, instead of an ending. These are the very qualities of reason and forgiveness that enable people on an island to get along, and so “The Descendants” — a safe bet for Academy Award nominations for Payne and star George Clooney — feels like the first really Hawaiian movie. It’s pono .
— Burl Burlingame
Museums make a merger
Following a national trend, Hawaii’s two major art museums, the 84-year-old Honolulu Academy of Arts and The Contemporary Museum, in operation for 23 years, merged in July to shore up their financial stability and increase their ability to present world-class exhibits and education programs.
Stephan Jost, formerly with Vermont’s Shelburne Museum, was hired as director of the academy in May and now heads the combined organization, which will be renamed the Honolulu Museum of Art in a marketing program to launch in March.
The year brought major change for another art institution when The ARTS at Marks Garage left the Hawaii Arts Alliance to venture out on its own, under the management of Hawaii Academy of Performing Arts. The Chinatown venue, which nurtured the popular First Friday and Slow Art Friday celebrations, is home to the Hawaii Shakespeare Festival and numerous visual art organizations, and serves as an incubator for arts groups.
As for programming, “We’re still a space for experimental, cutting-edge programming, and we have more events than ever,” said creative director Rich Richardson.
— Joleen Oshiro
Grousing about the Grammys
The controversy over the Grammy Award for best Hawaiian music album was stoked again in February when past winner Tia Carrere’s solo album, “Huana Ke Aloha,” was picked over albums by Daniel Ho, Ledward Kaapana, Jeff Peterson and others. “We were robbed,”tweeted Dennis Kamakahi afterward, reflecting the feelings of those who grumbled that the Recording Academy favored slack-key guitar music and nonresident artists. (Ironically, Carrere’s 2011 winner contained 100 percent Hawaiian lyrics and no slack key.)
The debate over whether local musicians should boycott the Grammys was cut short when the academy eliminated the category — along with 30 others — in a “restructuring” announced in April that put Hawaiian music in competition with zydeco, Cajun, polka and Native American music in the new regional roots category.
When the nominees for the 2012 Grammys were announced Nov. 30, only one Hawaiian entry — “Wao Akua — Forest of the Gods,” by George Kahumoku Jr. — had made the final ballot. The winner will be announced Feb. 12.
— John Berger
Ukulele master falls silent
Ukulele virtuoso Bill Tapia, born Jan. 1, 1908, died Dec. 2, one month short of his 104th birthday. Tapia played the ukulele for tips on Honolulu streets during World War I but spent most of his professional career playing banjo and jazz guitar in Hawaii and California.
He was retired and at loose ends when a fortuitous meeting with AlyssaBeth Archambault resulted in what has been described as “the unlikeliest career comeback in music history.” Tapia resumed playing the ukulele, recorded his first full-length album, “Tropical Swing,” at the age of 96, and spent the rest of his life entertaining international audiences with his playing, singing and storytelling.
A live performance album recorded during his 100th birthday concert in late 2007 was released in September.
Tapia’s “career comeback” on ukulele contributed to a resurgence of interest in the instrument outside Hawaii. One recent example is Eddie Vedder’s Grammy-nominated “Ukulele Songs” album released this year.
Hawaiian music also mourned the death of iconic ukulele master Kahauanu Lake in March, and beloved vocalist Bill Kaiwa in November.
— John Berger
Pipeline all washed up
The closing of Kakaako nightclub Pipeline Cafe in February continues to reverberate across the live-music scene.
For more than a decade, the venue was the go-to spot for club kids and music fans of all ages. A legal capacity of just under 1,000 people made it an ideal spot for shows that were too big for Chinatown clubs and not big enough for the Blaisdell Arena or Waikiki Shell. Its multiple rooms and cabaret liquor license (which allowed drinks to be served past the typical 2 a.m. last call elsewhere in Honolulu) kept customers coming back, despite the rise of restaurants transforming into club-style party spots after regular business hours.
In the end, however, an inadequate sprinkler system signaled the end of an era. The lack of a suitable midsize, stand-alone nightclub on Oahu has forced promoters to utilize outdoor venues and rethink their strategy when booking national acts to perform here.
— Jason Genegabus
