Tuesday, February 22, 2022

Colin John: Bluesman Extraodinaire

MITCHELL/COLIN JOHN BAND

A rusty piece of metal embedded in an Oahu road some fifty years ago seems an unlikely catalyst, but when Joseph Kekeku found it and accidently stroked the strings of his old Spanish guitar, the Hawaiian steel guitar was born. Now it’s back, or more precisely, the lap steel and slide have returned to the islands, this time in the hands of bluesman extraordinaire Colin John.

The 45-year-old professional—yes, he plays guitar for a living—is burning up the Big Island with gigs from Pahoa to Hilo and Kohala to Kona. In fact, look for him this weekend at the Kona Jazz Festival at Mauna Kea Beach Hotel where his unique blend of traditional and new blues, funk, rock and roll, and “Hawaiian kine,” as he says, will be featured.

The music is at times hypnotic, then rousing, sometimes lyrical—sweet and dainty—like colorful island flowers, as he plays cross-handed or below the bridge on his custom made lap steel. Other times the riffs are heavy and dirty, all business blues and rock. Listeners never know quite what they’ll get. Plucking, picking, stroking, strumming, sometimes he even beats the guitar body. 

A recent set at Emerald’s in downtown Hilo featured traditional numbers by the likes of Blind Arthur Blake, the venerable Robert Johnson, and Blind Willie Johnson (and you thought it was a Zeppelin cover). The mix included a hardcore calling out of Marley’s “Lively Up Yourself,” completely unique takes on Hendrix, a ditty by Merle Haggard(!), and a variety of inspiring original compositions, all featuring John’s gritty and uplifting vocals. 

“It’s kind of a mix—all that,” he said between sets, during the night proving the statement with sounds of the Mississippi delta, modern fusion, rockabilly, and at one point making the guitar sound just like a banjo. 

His ensemble of custom-made axes includes a 1961 Stratocaster, a number of metal-body Nationals, and a lap steel designed by the acclaimed Bill Asher. All produce different sounds, some obvious and others nuanced, but as he states on the website www.colinjohnband.com, “A player’s tone is in their hands, and ... the right gear may perhaps help a player achieve those sounds they hear in heads and hearts.” Indeed. 

Son of an Italian mother and a British dad, John is an Ohio native who paid his dues in mighty Memphis and lived for more than a decade in the UK. The Big Island is home now, but he’s frequently gone, living up to his motto “Have blues, will travel.” In May he’ll be leaving for the mainland, where the most prominent date on a busy spring and summer schedule is at The Monterey Bay Blues Festival in June. 

You can be sure, though, that the Colin John Band come back to the islands, and he’ll return with the magic that Joseph Kekeku found in the Hawaiian earth so many years ago.

 

Loren Mitchell is a freelance writer who lives on The Big Island.

Word Count: 481

 

Can “organic” really come in a can?

 Organic food has spilled out of the granola bag and onto the tables of mainstream America, where consumers this year likely will spend upwards of $15 billion dollars on food items labeled “USDA organic.”

That figure is more than double the amount spent in 2000, according to a Raleigh News & Observer story about the former niche market that now boasts a proven track record of 20 to 25 percent annual sales growth.

Although organic food accounts for only 2.5 percent of the nation’s grocery dollars, it is the “fastest growing sector of the food and beverage industry,” states a report from the Department of Agricultural Economics at Kansas State University.

 

Organic is Hot

In other words, “organic is hot,” to quote the Organic Trade Association’s 2006 annual report. “The organic industry is at a new tipping point,” the report states, adding that 90 percent of consumers “have heard about organic” and more than 80 percent “say the benefits of organic products are believable.” The OTAsums it up this way: “Never before have we seen the degree of acceptance and interest in organic from mainstream supermarkets and consumers.”

All of those numbers are a result of growing awareness among health-conscious consumers, many of whom also care greatly about sustainability and other related environmental issues. And that, surely all will agree, is a good thing.

Yet, the kind of real and predicted growth that the organic food industry is generating is also attracting some other admirers – huge, publicly owned corporations eager to cash in on an emerging giant. And that, some say, may not be a good thing.

 

Three-piece Suits in a Pastoral Meadow

Wall Street’s emergence into a food market niche once the sole domain of hippie co-ops and small-parcel family farms is both evident and hidden.

Walk down the grocery aisle and pluck a bottle of ketchup from the shelf. It may carry the certified organic label as well as that of food industry giant Heinz. On the other hand, who would guess that such quaint “boutique” brands as Boca Foods, Muir Glen, and Kashi are respectively owned by Kraft, General Mills, and Kellogg? From Coca-Cola and Pepsi to M&M Mars and ConAgra, the nation’s top food processing corporations are well entrenched in the organic marketplace, a fact that has been graphically documented by Michigan State University professor Phil Howard. (Access the graphic here.)  

Perhaps surprisingly, the problem with publicly traded corporations producing organic foods is not necessarily that processed food somehow lessens the organic efficacy of what’s inside the bag, can, or bottle.

That’s just not the case, says OTA spokesperson Barbara Haumann. Certified organic “means that the product is meeting the national organic standard, which includes production and processing. Whoever made that, that manufacturer, had to meet the national organic standards.”

 

What is Organic?

The federal Food and Drug Administration’s definition of organic food is, of course, lengthy and complicated, yet, if you’d like to see it, click here. Or, click here to access the FDA’s National Organic Program fact sheet that includes a user-friendly definition of organic and answers other related questions. Regardless, a 2006 cover story in BusinessWeek magazine offers perhaps the simplest definition: “food grown without the assistance of man-made chemicals.”

So, can organic really come in a can?

“I would say yes,” states Matt Tyler of the Organic Consumers Association, a public-interest organization “promoting the views and interests of the nation’s estimated 50 million organic and socially responsible consumers.”

However, Tyler qualifies his affirmative with several significant caveats.

“Our contention has always been that the publicly traded corporations are legally obligated to maximize profit in order to act in the best interest of their shareholders,” he states. “That causes a fundamental conflict of interest.”

“We don’t feel that the publicly traded model is a long-term solution to producing organic foods,” he says. Tyler also expresses fear that “in the quest for increased profits, they will begin cutting corners” and that the industry will be “degraded to a marketing fad.”

 

What About the Can?

Oh, and there’s one other thing to worry about. It’s called bisphenol-A, and it’s been linked to birth defects and cancer. Also known as BPA, the chemical compound is commonly used as a “protective lining for food and beverage cans,” according to a National Institutes of Health scientific panel that is studying the issue.

While the possibility of toxic food cans obviously is not limited to products certified organic, it certainly is a factor in the organic food consumer’s decision-making process.

 

Other Considerations

     Other factors worth considering include that, as the OCA spokesman points out, if a product is processed and packaged, it likely has been shipped long distances to your grocery story. That uses energy, adds carbon dioxide to the atmosphere, and generally increases the amount of greenhouse emissions damaging the earth’s environment.

     On the other hand, regardless of whose selling them, the more organic products there are on the market means that many more “acres that are being devoted to organic agriculture,” says Haumann of the OTA. And that’s good for the earth, she says.

     A few final points here are that consuming organic foods processed, packaged, and distributed by a national company surely is healthier than consuming non-organic foods that have processed, packaged, distributed by the same national company. Yet, although some studies claim otherwise, most of us believe that fresher is better. Common sense and gut instinct tell us that locally grown fresh fruit, vegetables, and meat, especially when certified organic, are naturally better than anything in a can.

 

924 Words

Sudha: Nectar of the Gods

 SUDHA/L.Mitchell/WORD COUNT 1,100

 

In India, “Sudha” means nectar of the gods, and that’s a fitting description of the high-end artwork showcased at the newly opened Sudha’s Art Gallery in downtown Hilo.

“We feature the finest quality contemporary art on the island,” Indian-born owner Sudha Achar said Tuesday afternoon. She was speaking from the breezy renovated gallery occupying about 3,000 square feet of open space on the ground floor of The Moses Building on Kamehameha Avenue.

“The style is contemporary, local artists,” Achar said. True, but these are not your average local artists. “They are very good artists who like to live on The Big Island but who are internationally known.”

Achar made her comments at the site of the former Chase Gallery during an impromptu showing of the nearly 200 paintings, sculptures, woodwork pieces and other objects d’art now on display. “The paintings are from realistic to impressionistic, to expressionistic to abstract.”

One of the most striking items, however, is not on canvas. A huge, dark and rustic high-backed chair dominates the showroom floor at the front of the gallery. “It’s a real traffic stopper,” Achar said of the towering piece of “utilitarian art” handmade by wood sculpture Jeff Roth. The massive seat is a hand-chiseled cross section of a mango tree trunk; the tribal throne-like back is Koa.

Like most of the fine woodcrafts and furniture in the showroom, ohia, koa, mango and other indigenous species are de rigueur.

The sculptures, crafts, canvas paintings and other artwork have two things in common; they are the work of talented, professional, and even world-renowned artists, all from Hilo or elsewhere on The Big Island.

Several other themes underlie Achar’s vision to open the gallery. First, “It’s a place for us to be together,” she said, referring to Patrick Freehill, her husband, business partner and fellow doctor of psychiatry. Second, Achar is director of the board that oversees the East Hawai’i Cultural Center and its three public galleries. Although not formally associated with EHCC, Sudha’s is an extension of the counsel’s “mission to preserve, perpetuate and promote the arts of all cultures of our diverse community,” she said. The idea is to provide a permanent and constant repository of “mature, high quality art,” she said. “It’s a beautiful way of showcasing the artists.” Freehill added that the endeavor reflects “our interest in supporting and improving downtown Hilo” vis-a-vi the ambitious master plan of growth and transformation known as Envision Downtown Hilo 2025. Finally, the new gallery serves as an outlet for Achar’s own artwork. An accomplished artist who has apprenticed with renowned names in the art world, Achar has nearly 30 pieces on display.

Although her work is currently featured among the offerings of nearly 50 artists, “As time goes on we will feature an artist every few weeks,” she said.

Having moved to Hilo from Portland, Oregon, in the mid-seventies, Achar said that over time she has grown to “know the artists on the island and the quality of the art, so that has given me a headstart on choosing the best artists.” 

The gallery is designed precisely for that type of revolving showcase. A series of portable partitions allows for countless configurations to accommodate collections large or small. “We can create intimate spaces,” said Freehill, and, “From time to time we’ll try to emphasize bigger interior space.” 

“The configuration allows the works to be seen up close and from a distance, and it also gives us more wall space,” he said. 

The entire high-ceilinged interior is a soft off-white, which doesn’t distract from either rich or subtle colors of the artwork. Plus, track lights and a sky window provide flexibility and variation of lighting intensity and focus.

That setup appeared inviting enough on a recent afternoon, when passersby drifted steadily through the wide open double doors into the well-lit and well-balanced display room.

The gallery front is dominated by “furniture.” Although, that hardly seems the proper word to describe the gracefully handcrafted rocker or the chair-and-ottoman set painstakingly inlaid with small, alternating squares of individually chiseled and sanded light and dark wood.

The ottoman set is the work of Hilo artist Perry Policicchio, as are several other of the gallery’s fine wood creations, including a luxurious armoire and a strikingly oversized hand-woven basket. Both pieces, like much of Policicchio’s work, incorporate and interweave contrasting wood colors, such as from the koa, mango and oak.

The nearby wall offers a sampling of the Hawaiiana that understandably abound within the gallery. One group of paintings, utilizing earth colors and bold, swirling strokes, is by Avi Kiriaty. Locals may remember him as the aspiring painter who labored from an upstairs studio in the Moses Building and sold his work at the Hilo Farmers Market.

On the opposite wall hang pieces representing a variety of artists and techniques. There is the bright and colorful “fiber art” of Swedish-born Ragnhild Langlet, who taught at the Art Institute of Chicago and at USC-Berkley.

Directly across from Langlet’s pieces are surreal photographs by Yukako Karr, whose multipaneled manipulated creations have been described as “arresting and evocative.”

At the rear of gallery, past the smooth and polished abstract driftwood sculpture, is a door leading to what is now a workroom.

“In here, we’re designing a living space,” Achar said, launching into the couple’s plans to create a private place that mimics a homey living room. There, customers will be able to consider a particular piece without the distractions of the gallery floor.

“When people are in a gallery, they’re often overwhelmed,” she said. “Even for me sometimes, I’m like a deer caught in the headlights.”

     Isolating a piece of art and viewing it in that environment, said both Achar and Freehill, is entirely appropriate considering the investment. While some prints and photos are affordable, starting around $25, much of the art in Sudha’s is indeed fine. One young man, drawn in from the sidewalk, tested a piece of “furniture” that likely costs more than the car he drives.

     “We would hope that these would be heirloom pieces of lasting value that can be passed down to children and grandchildren,” Freehill said.

     Other coming attractions at Sudha’s, which opened in May, include a section devoted to books about art and artists, and a book searching service to locate hard-to-find titles. Also, Achar expects to soon move in several of her stone sculptures, and the couple are planning an open house celebration in the fall to coincide with their 25th wedding anniversary.

Sudha’s Art Gallery is located at 100 Kamehameha Ave. in Hilo. The phone number is (808) 934-0009.

 

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