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Fiji – Hey Girl

Fiji – Hey Girl

George “Fiji” Veikoso (born George Brooks Veikoso) is a Fijian classic reggae, Hip-Hop, R & B and Jazz vocalist, songwriter, music producer and occasional actor. He was born in Fiji but raised in Hawaii.[1

In 1998 he won the Na Hoku Hanohano Award for Male Vocalist of the year and Entertainer of the year.[3]

He has earned numerous other industry accolades and awards “Favorite Entertainer of the Year” and “People’s Choice Award”. FIJI’s collaboration on the “Island Warriors” compilation album earned a Grammy-nomination for Best Reggae Album.[4]

Fiji also co-wrote and sang the season 11 theme-song “Let Me Be the One”with Glenn Medeiros for the TV show, Baywatch and he has acted in the 2002, surfer film Blue Crush.[5]

He has produced and released many albums during his career such as “Evolution” and “Born and Raised” to name a few. One of his all time and most popular songs is “Lia”.[6]

 

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 “Hawaiian Style SALMON CEVICHE – Pseudo Polynesian Cuisine Recipe” 

 “Hawaiian Style SALMON CEVICHE – Pseudo Polynesian Cuisine Recipe” 

 
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Posted by on June 9, 2017 in brunch, pacific islands

 

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 “Hula Blues” 

image: dobro hulu blus duolian


John Avery Noble (September 17, 1892, Honolulu, Hawaii – January 13, 1944, Honolulu), better known as Johnny Noble, was an American musician, composer and arranger. He was one of the key figures behind the development of the hapa haole style of music in Honolulu, and played a leading role in introducing Hawaiian music to the United States.[1]

Early lifeEdit

Johnny Noble was born in Honolulu, Hawaii on September 17, 1892. He was exposed to music from an early age, listening to band concerts on Sunday afternoons in Kapiolani Park, and traditional singing in local churches. He attended Kaiulani School, and in his spare time sold newspapers on the streets of Honolulu and entertained passers-by whistling popular tunes.[2]His high school education was at Saint Louis School, where he learned to play drums, piano and guitar. He graduated from school in 1911 and went to work at the Mutual Telephone Company in Honolulu, where he continued working long after he became a successful musician.[3]

CareerEdit

In 1917, Noble was hired by Ernest Ka’ai who was musical director at many Honolulu hotels.[4] Noble worked part-time as a drummer at several theaters before meeting Sonny Cunha, a well known Honolulu musician. Cunha was born in 1879, also in Honolulu, and developed the hapa haole (half-Hawaiian) sound in 1900 by mixing traditional Hawaiian music and American ragtime.[5] In 1918 Noble became a member of Cunha’s band playing drums and xylophone, and soon was well acquainted with the hapa haole. Cunha was Noble’s mentor and, among other things, taught Noble composition. Noble adopted Cunha’s music to blend jazz and blues with Hawaiian music to produce a new style of hapa haole. While conservatives complained that this new music “degrad[ed] and commercializ[ed]” traditional Hawaiian music, it was very popular with audiences in Honolulu.[6]

Noble went on to become an arranger and a band leader. In 1920 he led Honolulu’s Moana Hotel orchestra, introducing his new music to the band’s repertoire.[7] He later ended up supervising most of Honolulu’s hotels and country club entertainment.[2] In 1924 Noble was chosen as Hawaii’s delegate at a Music Trade Convention in San Francisco, where he took the opportunity to look for new ideas to incorporate in his music. Over the next few years Noble and his band publicized Hawaiian music by means of recordings, radio broadcasts, performances on cruise ships and tours of mainland America.[8] Noble played a leading role in introducing and popularizing Hawaiian music in the United States.[1]

Noble composed a number of hapa haole tunes, including “My Little Grass Shack“, “King Kamehameha” and “Hula Blues”. He also popularized the traditional “Hawaiian War Chant” song.[2]Noble published hundreds of traditional Hawaiian songs in their original form, and reworked many to “Western scale and contemporary instrumentation”.[1]He made over a 100 recordings, which included 110 songs for Brunswick Records.[2]

 

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DJ Maretimo – Samoa Skipper (Sailing Mix)

DJ Maretimo – Samoa Skipper (Sailing Mix)

DJ Maretimo is a German Lounge & Chillhouse DJ and is spinning his turntables for more than 25 years. He plays the best of chillout, lounge and house music.

Known for its major hits within the electronic scene, DJ Maretimo’s own Record Label “Manifold Records” is not only the perfect place for himself but also for DJ’s around the world. Founded in 1989, the Label can look back on a successful time. The album “Island Of Chill” is over 10 years almost seamlessly in the iTunes Top 100 of all electronic releases and one of the most successful releases of all time. 

The Chillout and House tracks selected by DJ Maretimo can be found on hundreds of compilations – the best known example is definitely the series “Cafe del Mar” of the famous Ibiza Chillout Cafe. 

https://en.wikipedia.org/wiki/Chill-out_music
https://en.wikipedia.org/wiki/Lounge_music


https://en.wikipedia.org/wiki/House_music

https://m.facebook.com/DJMaretimo/


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Posted by on June 9, 2017 in music, pacific islands

 

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Two handsome Samoan athletes Cook”Outside the Ring – The “Usos cook a Samoan meal” – Episode 1″ 

 

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“Royal Kikiriri – Authentic French and Polynesian …” 

image: dreamtime.com

 

“Tattoos! Taboo? You Choose!”  

“Tattoos! Taboo? You Choose!”  

Should we assume them to be self- proclaimed beauty marks, love markers, fads, expressive works of art, self-persecution,  or, could tattoos be an  inherent cultural practice proclaimed as one’s rights of passage?  (AOC)  AMERICA ON COFFEE 

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History of Polynesian Tattoos|Tribal Tattoo Designs for Men and WomenNearly everyone in ancient Polynesian society was tattooed. The revival of Polynesian lost art: Shortly after the missionaries arrival (1797) the practice was strictly banned, as the Old Testament forbids it. In recent years, however, the art of tattooing has enjoyed a renaissance in the early 1980’s.

https://www.tahititatou.com 

AN OVERALL HISTORY:

 Tattooing has been practiced across the globe since at least Neolithic times, as evidenced by mummified preserved skin, ancient art, and the archaeological record.[1] Both ancient art and archaeological finds of possible tattoo tools suggest tattooing was practiced by the Upper Paleolithic period in Europe. However, direct evidence for tattooing on mummified human skin extends only to the 4th millennium BC. The oldest discovery of tattooed human skin to date is found on the body of Ötzi the Iceman, dating to between 3370 and 3100 BC.[2] Other tattooed mummies have been recovered from at least 49 archaeological sites including locations in Greenland, Alaska, Siberia, Mongolia, western China, Egypt, Sudan, the Philippines, and the Andes.[3] These include Amunet, Priestess of the Goddess Hathor from ancient Egypt (c. 2134–1991 BC), multiple mummies from Siberia including the Pazyryk culture of Russia, and from several cultures throughout pre-ColumbianSouth America.[2]That tattooing was somehow “reintroduced” to the Western world following European voyages to Polynesia is a myth.

[41] Tattooing has been consistently present in Western society from the modern period stretching back to Ancient Greece.[42][43][dubious ] Although Captain James Cook’s voyages to the South Pacific imported the Polynesian word “tatau” (as “tattow”, later changed to “tattoo”), tattooing was not novel at the time. A long history of European tattoo predated these voyages, including among sailors and tradesmen, pilgrims visiting the Holy Land, and on Europeans living among Native Americans.[44][45]The first documented professional tattoo artist in the USA was Martin Hildebrandt, a German immigrant who arrived in Boston, Massachusetts in 1846[citation needed]. Between 1861 and 1865, he tattooed soldiers on both sides in the American Civil War. The first documented professional tattooist (with a permanent studio, working on members of the paying public) in Britain was Sutherland Macdonald in the early 1880s. Tattooing was an expensive and painful process, and by the late 1880s had become a mark of wealth for the crowned heads of Europe.[citation needed]

Since the 1970s, tattoos have become a mainstream part of global and Western fashion, common among both sexes, to all economic classes, and to age groups from the later teen years to middle age. For many young Americans, the tattoo has taken on a decidedly different meaning than for previous generations. The tattoo has “undergone dramatic redefinition” and has shifted from a form of deviance to an acceptable form of expression.[46] In 2010, 25% of Australians under age 30 had tattoos.[47]

Tattoos have experienced a resurgence in popularity in many parts of the world, particularly in Europe, Japan, and North and South America. The growth in tattoo culture has seen an influx of new artists into the industry, many of whom have technical and fine arts training. Coupled with advancements in tattoo pigments and the ongoing refinement of the equipment used for tattooing, this has led to an improvement in the quality of tattoos being produced.[49]

The clientele changed from sailors, bikers, and gang members to the middle and upper class. There was also a shift in iconography from the badge-like images based on repetitive pre-made designs known as flash to customized full-body tattoo influenced by Polynesian and Japanese tattoo art, known as sleeves, which are categorized under the relatively new and popular Avant-garde genre.[53] Tattooers transformed into “Tattoo Artists”: men and women with fine art backgrounds began to enter the profession alongside the older, traditional tattooists.As various kinds of social movements progressed bodily inscription crossed class boundaries, and became common among the general public. Specifically, the tattoo is one access point for revolutionary aesthetics of women. Feminist theory has much to say on the subject. “Bodies of Subversion: A Secret History of Women and Tattoo”, by Margot Mifflin, became the first history of women’s tattoo art when it was released in 1997. In it, she documents women’s involvement in tattooing coinciding to feminist successes, with surges in the 1880s, 1920s, and the 1970s.[56] The earliest appearance of tattoos on women were in the circus in the late 19th century. These “Tattooed Ladies” were covered – with the exception of their faces, hands, necks, and other readily visible areas – with various images inked into their skin. In order to lure the crowd, the earliest ladies, like Betty Broadbent and Nora Hildebrandt told tales of captivity; they usually claimed to have been taken hostage by Native Americans that tattooed them as a form of torture. However, by the late 1920s the sideshow industry was slowing and by the late 1990s the last tattooed lady was out of business.[57] Today, women sometimes use tattoos as forms of bodily reclamations after traumatic experiences like abuse or breast cancer.[56] In 2012, tattooed women outnumbered men for the first time in American history – according to a Harris poll, 23% of women in America had tattoos in that year, compared to 19% of men.[58] In 2013, Miss Kansas, Theresa Vail, became the first Miss America contestant to show off tattoos during the swimsuit competition — the insignia of the U.S. Army Dental Corps on her left shoulder and one of the “Serenity Prayer” along the right side of her torso.[59]

en.m.wikipedia.org

 

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