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DIY Arcade Game - Ep01: Make Claw Machine from Cardboard - Duration: 6:28.
Hi, welcome back!
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Trump Finds Obama's Secret MOLE in White House – Identity Rocks DC - Duration: 10:44.
Trump Finds Obama's Secret MOLE in White House – Identity Rocks DC
Attorney General Jeff Sessions just made a huge move to help President Donald Trump on
Thursday night when senior Justice Department officials announced criminal charges against
Senate Intelligence Committee's long-time director of security James Wolfe.
Breitbart reported that in the indictment, Wolfe is accused of making false statements
to the FBI.
The indictment claims that Wolfe passed classified information to a series of media outlets,
confirming long-standing suspicions of the career intelligence community's complicity
in leaks.
Wolfe has been charged with three separate instances of making false statements to the
FBI in the indictment, which appears to detail how he did allegedly leaked classified information
to reporters and then allegedly lied about it to the FBI.
The indictment does not name who the classified documents were leaked to, identifying them
as "Reporter #1," "Reporter #2," "Reporter #3," and "Reporter #4" as well as "MALE-1"
respectively.
However, it is believed that "MALE-1" is ex-Trump aide Carter Page, and "Reporter
#2" is then-Buzzfeed News now New York Times reporter Ali Watkins.
It has been reported that Watkins and Wolfe were "in a romantic relationship" at the
time Wolfe leaked the Carter Page documents.
The indictment includes text messages that reveal that not only was Wolfe willing to
leak to Watkins, he had a strong personal connection to her as well.
"I always tried to give you as much information that I could and to do the right thing with
it so you could get that scoop before anyone else . . . . I always enjoyed the way that
you would pursue a story,like nobody else was doing in my hal1way," read one text
from Wolfe to Watkins.
"I felt like I was part of your excitement and was always very supportive of your career
and the tenacity that you exhibited to chase down a good story."
Back in November, Sessions testified that the Justice Department had numerous ongoing
leaks investigations, including presumably this one.
"Members of the committee, we had about nine open investigations of classified leaks
in the last three years," Sessions testified to a House committee.
"We have 27 investigations open today.
We intend to get to the bottom of these leaks."
What do you think about this?
Let us know your thoughts in the comments section.
Facebook has greatly reduced the distribution of our stories in our readers' newsfeeds and
is instead promoting mainstream media sources.
When you share to your friends, however, you greatly help distribute our content.
Please take a moment and consider sharing this article with your friends
and family.
Thank you.
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Genessy & Slavik Perform to "Machika" by J Balvin, Jeon & Anitta | Season 15 Ep. 12 | SYTYCD - Duration: 2:02.
For more infomation >> Genessy & Slavik Perform to "Machika" by J Balvin, Jeon & Anitta | Season 15 Ep. 12 | SYTYCD - Duration: 2:02. -------------------------------------------
How do you write a hit song? | What is Music - Duration: 16:55.
(ELECTRONIC SYNTHS)
Well, it's gotta have drums. Yeah.
(DRUMS PLAY)
It's gotta have really good drums. Yeah.
Usually it's writing a lot of lines about it.
You have, like, heaps of ideas that you've come up with
over a long period of time,
then you have this consolidation moment,
and when what that happens,
that's when you can start to actually see the song.
WOMAN: I guess you don't know when you're writing it.
I think the main thing is to create something that people connect with,
even if it's just a song
where they can just put their dancing shoes on and just go wild,
that's a hit, because it's made them move.
Heh. You tell us.
Who knows how to write a hit? Do you?
Well, if I knew, I shouldn't...I wouldn't tell.
I wouldn't tell anybody. It's a dark art.
(LAUGHS)
The way to write a hit song is...
Is write lots. Yeah.
And then just pick 1 in 50 that you think you love.
The motto is
"You've gotta go through all the shits to get the hits."
Yeah.
Hi, I'm Dan. Hi, I'm Linda.
And this is What Is Music?
And we're not in our usual studio today
because we're here to write a hit song.
Yes. Start to finish, all in one day. Boom.
To achieve this monumental task,
we've come to the largest recording studio in the southern hemisphere,
Studio 301.
This award-winning, platinum-record-churning studio
will have all the bits and pieces we need to pull this off.
I've even enlisted the help of a topnotch producer, Simon Cohen.
Simon is a producer and engineer
who has worked with Justin Bieber, Guy Sebastian,
Vera Blue and Jessica Mauboy.
So he is no stranger to making a banger.
So, Simon... Hi!
Is there a formula to writing a hit song?
Well, there's a lot of techniques for writing,
uh...different types of songs -
whether it goes on to become a hit or not
is as much up to good luck as good writing, maybe.
But we can certainly have a go at writing a great song.
So all we need is, like, two to four chords
and, like, a hook and a strong beat, right?
That's...that's it. That's the recipe.
Absolutely. And then just...I take my top off.
Yeah. (LAUGHS) Alright. Nice. Funny. Cute chitchat.
Let's get down to it - what does this stuff do?
OK.
Well, so behind me we've got the mixing desk,
and so essentially
we plug all the microphones and keyboards into there.
Then we've got a computer where we're gonna record it all.
There's a few extra toys lying around -
some guitars and microphones.
Everything we could need.
Step 1 - the beat, and our chart-topper needs one.
BPM, or beats per minute, measures the pace and rhythm of a song.
The growing trend in pop music has been for slower beats,
with the average song declining from 116 BPM to 100
in the past four decades.
How fast do we want this song?
I like the idea of it being slower -
like, about 100 or something. Yeah.
Shall we give that a try? OK.
Yeah. See if it makes you move?
You know Dan loves to dance as well. I've heard.
(LAUGHS)
This is our regular 100.
(SLOW BEAT PLAYS) Yeah.
Dun. Dun-dun-dun.
And let's try a couple of loop starting points,
get a bit of a feel for the groove.
(SLOW, FUNKY BEAT PLAYS)
(SLOW, ECHOING FUNKY BEAT PLAYS)
I like that. That feels like a nice intro.
Yeah. That feels like a nice kind of house, slightly hip-hop.
(BEATBOXES TO BEAT, MIMICS DRUM BEAT)
So we throw a bit more of, like,
a sort of straight-up kick under it too.
(FUNKY BEAT BECOMES MORE COMPLEX) Oh, yeah.
Mmm, mmm! Mmm! Mmm!
That sounds great.
In this first verse, maybe we'll start with sort of 16 bars.
Then we can go into the chorus section.
Quite often in the second verse... Shorter verse.
..shorten it down a little bit, maybe eight bars.
Everybody's waiting to get back to the hook again.
We start with bits and pieces, and as the song kind of forms out,
we'll sort of put some of the ornamentation in.
I like the idea of keeping it quite uncomplicated.
Yeah.
I mean, a lot of the styles these days,
particularly R&B and kind of hip-hop influenced pop,
there is a lot of space.
It's kind of the drums and just kind of one bass note,
and maybe a little kind of melodic element.
Let's go ham, and then see what happens when we slap it at the wall.
Perfect. Is that even a saying?
It is now. Just slap it at the wall.
Simon, slap it at the wall. Come on.
I'm gonna get T-shirts made of that.
The beats are down.
Now we need some harmony, and that means step 2 - the chord progression.
OK, fact time. What's a chord progression?
So a key basically has seven notes in it,
and you can build a chord around any of these.
All the way from C, all the way up to B, and then C again.
So you've probably heard this before.
(PLAYS A SERIES OF DESCENDING NOTES)
It's the basis for a fair few pop songs.
That's a chord progression.
Chord progressions dictate the flow of a song.
They can give a song strong vibes, like the blues.
(PLAYS JAUNTY TUNE)
And doowop - popular in the '50s and '60s.
(PLAYS UPBEAT TUNE)
Or the sad modern ballad.
(PLAYS MELANCHOLY TUNE)
You can also play with these chords by stacking more notes on the top.
(PLAYS CHORD)
Lowering or augmenting some notes.
(PLAYS DISSONANT CHORD)
Playing with dissonance can give a song character,
can give it tension, lightness, darkness,
and take you further away from home
so that when you return, there's a real emphatic feeling.
But recently, we're hearing progressions with fewer chords
being played in pop music,
like two or three chords repeating.
(SORRY BY JUSTIN BIEBER PLAYS)
So, would you pick a particular key?
Is there, like, a secret key for pop success?
Look, there's a few keys that get used quite often,
particularly the keys that have, essentially, all the white notes.
You've got your A minor.
If it's being written for a particular singer,
they will have a certain range that they sound best in.
If you're writing for yourself,
then obviously it's whatever's comfortable.
Or just wherever the idea comes from.
Cool. Let's try something out.
(PLAYS UPBEAT PERCUSSIVE TUNE)
We could do something a bit more synthy.
(PLAYS UPBEAT SYNTH TUNE)
Let's just record some of that down and see if some of it works.
And you can do the variation with the three.
Cool!
I reckon that's kind of the skeleton for our chords.
Um, we'll run that through the verse and then...
..it'll probably work through the chorus as well,
but we'll see if there's anything that needs to change
depending on where the vocal melody goes.
Um, and we'll see how the bass line kinda works around it.
Perfect.
Step three is all about that bass.
The lower, the better.
A big bass sound that everyone kinda uses
on a lot of these urban R&B tracks
is the 808 kind of bass, so...
(THUMPING BASS NOTE)
Sounds a bit like that.
There's a "boom-oom".
Yeah, I feel like that could hit a...
Yeah.
(BASS LINE AND SYNTH TUNE PLAY TOGETHER)
Which makes you want to move more.
That kind of octave shift is kinda cool.
So there were a couple of things I kinda really liked in there.
(TRACK PLAYS)
But if you like that pattern,
we could try tweaking the sound for the other one
to make it a little bit more interesting.
The first one still fits kind of the best.
That kind of groove makes me want to move the most.
Yeah. Which is kind of...
Yeah, that sits with me, like, a lot better.
A little bit more like that Billie Jean thing
where it's sort of...
The rhythm doesn't really change. Yeah.
The funny thing is, is that that bass line emphasises the hi-hat.
I suppose particularly with the melodic embellishments
hitting the off beat.
They sort of pulse like they kind of live together a little bit more.
Yeah, that sounds nice.
LINDA: But I had a secret weapon to elevate this track from nice
to a chart-topping monster.
Hey, Simon? Yeah.
In one of the earlier episodes, we did an instrument challenge
where we had to create our instruments.
OK. We had a competition
and we were judged,
and my contraption that I made from start to finish, all by myself,
actually won.
So we've decided that we want it to be in the song.
Wh...what does it do?
(LAUGHS) Well!
Straw.
(VIBRATING DRONE)
Oh, wow!
You know how in some pop songs they have air horns and stuff?
Yeah... You know.
I reckon we could do something with that.
What in the world have you got, Dan? Like a shaker?
Yeah.
A very full sound! It is. Thank you.
Yeah, I reckon we could definitely use some of that in, you know,
some of the rhythmic bed for the drums.
Sure. Wanna go and shake-a-shake for me?
Why not? Definitely usable.
Why not. Says the professional.
(SHAKES PERCUSSIVE INSTRUMENT IN TIME WITH TRACK)
Cool. Perfect, man.
OK. Go for it.
(VIBRATING DRONE)
That's awesome!
Just leave that with me,
and I think you guys need to work on some lyrics now for this.
Step four - the lyrics. Time to pour our hearts out.
There's the folk tradition,
where people write these personal, confessional lyrics
to bring the listener in.
And then you've also got this tradition of jazz standards
where stuff is a lot more vague, a lot more universal,
and, you know, let's be honest -
if in doubt - partying, babes, love.
We can hit it. Always works. Yeah, absolutely.
Or wordless choruses. Whoas. Ahs. I love it.
Oohs. Yeah. For sure. Love it. Big drop.
Why don't we listen to it and see what...see what we can come up with?
(TRACK PLAYS)
What is it inspiring? What is it making you visualise?
It's like a sad party.
I love a sad party. I love melancholic party.
Yeah.
Maybe it's homecoming. Like, I've been away.
Now I have to leave this cool life that I've led,
but gotta return back home, or something like that?
Mm-hm. Yeah. Like if you've been on a holiday. What is that feeling?
What? Yeah. Like a half moon.
I was thinking of that when we were eating croissants earlier.
Not exciting enough to be a full moon...
Why did that remind you of it?
Well, it's kind of a similar shape. Oh! OK.
Yeah. Hey, what do you think about...
What if we just wrote the song about a croissant experience?
Or 'cwoissant'. Do you say croissant or 'cwoissant'?
As long as that does not enter the lyrics at all...
But if we wrote, like, a pastry love song.
A pastry... Oh, my God.
Here. How about this as a chorus, right?
We had our sweet, buttery inspiration
and smashed out some lyrics in no time.
Meanwhile, Simon and his assistant Charlotte
were busy working on the breakdown,
Charlotte adding some much needed oomph
into our original chord progression.
Little waves on them.
Cool.
Then this would be the build-up. (HUMS)
Into the drop. (HUMS)
Cool.
Now we'll kind of get a little melodic top line.
Yeah, it's moody. It's nice.
They were also cooking up something amazing.
Hey! Hey! You're back!
(LAUGHS) Hey!
Is that my little bay horn?
That's your horn, baby! Almost unrecognisable.
Yeah! You've made it into something almost musical.
(LAUGHS)
OK, so we've got a chorus.
OK, yeah. That's a great place to start.
# Almond, chocolate, ham and cheese
# I want you to come home...
# I want you, come home with me. # I think that's better.
Um...
# Almond, chocolate, ham and cheese
# Why you crumble when I squeeze? #
It's about croissants.
I would hope so too. (LAUGHS)
Uh, Dan, anything to add?
Oh, yeah. We just had a lot.
We've got a verse here.
# Thinking of you at a quarter past two
# Your shop is closed
# You got what I need
# Baby, baby, please don't get too flaky on me. #
(LAUGHS) OK. So I like it.
It's ambiguous, but then it starts leading us towards the pay-off.
Yeah. It could be a metaphor.
I reckon it's probably time we get you guys in the booth.
Find something catchy.
Alright. We're not good singers, though.
We'll put a little bit of autotune or something on it.
It's more about trying to find something
than it being a flawless performance at this point.
Just a little autotune.
Mine will be flawless. Yeah.
(SINGS NOTE WITH AUTOTUNE APPLIED)
That's amazing.
(SINGS NOTE WITH AUTOTUNE APPLIED)
# Oh, my God. #
I'm (BLEEP) Travis Scott!
(LAUGHS)
# I get those goose bumps every time, yeah. #
Step five - the melody.
Now it's time for us to find the hook.
Let's start with the chorus.
# Almond, chocolate, ham and cheese
# I want you... # Wait.
# Almond, chocolate, ham and... # That's better!
# Almond, ahh! # Yeah!
# Almond, chocolate, ham and cheese
# I want you to come with me. #
(LAUGHS) Yes! Great!
(LAUGHS)
# Why do you crumble Yes!
# When I squeeze... #
(LAUGHS) I love that!
# At a quarter past two... #
BOTH: # You're sold out... #
Down on "you"? Yeah, yeah.
# Thinking of you at a quarter past two
# You're all sold out but I still need you. #
Step six - putting it all together.
Simon guided us through,
refining the rest of the tune before secret weapon number two arrived -
professional vocalist and pop sensation Kota Banks.
Kota Banks is a touring artist, songwriter and vocal powerhouse
and she's singing on our song.
# For better days... #
Hit it, Simon.
(TRACK PLAYS)
# Why do you crumble
# When I squeeze you?
# Your flakes, your flow I need, you know
# I got the butter I need no other
# So toast up and taste me. #
Wow!
That's sick!
You guys killed it.
Should we chuck her in? I reckon let's get her in there.
Absolutely. Let's do it.
Two. Hey, hey. (VOCALISES)
Um, yeah. Should we have a go at this kinda first verse?
# Almond, chocolate, ham and cheese
# I want you to come with me... #
Were you playing around with that before
in the higher version of that?
(HIGHER) # Almond, chocolate, ham and cheese. #
Can we hear that?
# Almond, chocolate, ham and cheese
# I want you to come with me
# Why do you crumble
# When I squeeze, yeah. #
The song was clearly in far more capable hands at this point.
During that drop as well, the way you did...
Thank you.
And they were tireless in perfecting the track.
# Ah, ah, ah. #
Cool. Yeah, I reckon we've got it. That's it. Come on in.
Yay!
Alright, Simon. I think it's time to hear where we're at.
Awesome. Here we go.
(TRACK PLAYS)
# Thinkin' of you
# At a quarter past two
# You're all sold out but I still need you
# Banging on the store window
# Please
# Need to dip you in my tea
# Oh, whoa
# My sweet
# You got what I need
# Oh, baby, baby, baby, baby
# I got the butter I need no other
# Toast up and taste me
# Shake your, shake your, shake your bom-bom for me
# Shake your, shake your, shake your croissant for me
# Shake your, shake your, shake your bom-bom for me
# Toast up and taste me... #
(LAUGHS)
It's a good song!
It's a lot better than I expected we were gonna come up with.
And it makes me smile. It makes me laugh.
Makes me smile. Makes me kinda dance.
I reckon if the lyrics were different,
it would be a pop song,
like a proper pop song.
The melodies are crazy.
If it turned up on radio, I don't think I'd be surprised.
I'd be bopping along. I'd be right there with you.
Thank you so much, Simon, for all your amazing work.
And thank you for coming in and being our little singing star.
Any time!
You know what we didn't do, though?
Do you guys have, like, a producer name or something?
Like, how are people gonna know it's you?
What about Goldiano?
Dan Golding Marigliano. Goldiano.
I... Yeah, I'll take that. Yeah, OK. Alright.
I'm so into that. Alright. In you go. Let's do it.
Alright. I'm doing it.
(TRACK PLAYS)
(AUTOTUNED) Goldiano Productions!
Maybe it needs a phrase.
That was... No. I think that's gonna do it.
OK. Do not do anything more. That's it.
Don't change. You're perfect as you are.
Thank you.
Captions by Red Bee Media
And if you want to hear our full masterpiece...
It's right here on iview too.
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Bohemian Grove Dark Secrets Video - Duration: 7:39.
Twenty years ago, Alex Jones was an investigative journalist.
Among the Redwood trees outside of San Francisco,
he personally infiltrated the most exclusive men's club in the world, and he was an eyewitness
to a bizzare ritual known the "cremation of care".
In the Bohemian Grove dark secrets video, he revealed for the first time,
the entire secret ceremony.
It is the opening ritual of the summer,
on the first evening of an annual two week gathering of the Bohemian Club.
The audience, numbering more than a thousand of the rich and powerful,
take seats in an outdoor dining area, where the banquet tables are illuminated by gaslight.
They are politicians and famous artists, film studio owners and bankers.
They finish their sumptuous dinner, but they continue to drink.
The woodland air is warm and damp.
The music of a funeral dirge strikes comes from the darkness.
A procession appears of men in red robes, with red hoods.
Some are playing the musical instruments of the dirge, others hold high large torches.
Six men follow, like pallbearers, carrying an oblong, shallow wooden box.
The sides of the open box are low, and everyone can see what is inside.
Its occupant masquerades as a human body, but in reality
it is white cotton fabric, wrapped around a six foot plastic skeleton.
This is the "embodiment of care", a symbol of the sins of the previous year,
sins which all important men convince themselves they are obligated to commit.
As the procession passes the dining area, the audience leaves their seats,
falling into line behind the hooded column.
The funeral parade, consisting mostly of old white men,
marches on the road for only a few minutes before it reaches the shore of a small, artificial body of water.
The pallbearers and the priests, approach an enormous altar facing the lake.
The entertainment consists of more than two hundred performers,
the honorary associate members of the Bohemian Club...
the chorus, torch bearers, fire wardens,
lifeguards to prevent drunken men entering the water, and the show manager.
Still holding their drinks, the audience walks along a short path to the opposite side of the pond,
where they can observe from a safe distance the altar,
which is in the form of a huge owl, forty feet in height,
constructed of concrete. Its lower regions are covered in moss.
The performers surround the altar.
The shallow coffin is deposited at the feet of the sacred bird,
an owl which represents the priciples of wisdom, of keeping silent,
and of activities best conducted under cover of the night.
The high priest announces the club motto,
taken from "a midsummer night's dream", by William Shakespeare.
"Weaving spiders, come not here!"
Ostensibly this would forbid the membership from discussing worldly matters
and forming their evil plans.
But the motto is spoken of always sarcastically,
because the members know the Bohemian Grove may be the ideal haven,
where such schemes may be secretly planned.
The box is placed upon a stack of pinewood before the altar,
and after igniting the funeral pyre, the high priest throws his torch into the rising inferno.
When the revelers grow tired of watching the bonfire, or when they run out of liquor,
they break away in groups to return to their camps,
or rather to wander from one camp to another, to form new alliances, or to reinforce old alliances.
In September 1942, in the clubhouse on the grounds of the Bohemian Grove,
a meeting was held between representatives of General Electric and Standard Oil,
the presidents of Harvard, Yale, and Princeton,
various military men, and J. Robert Oppenheimer.
This is where the Manhattan Project was born,
which then led to the invention and deployment of the first atomic bomb.
-------------------------------------------
NĀ MELE: Pomaika'i Lyman | Program - Duration: 28:47.
Any time we had, you know, family gatherings, people were dancing hula, people grabbed an
instrument and they were singing. Music was a blessing
for all of us. My grandma had twelve children. My dad is
number eleven of the twelve. So, I had a lot of family. They're the ones that were scolding
me, they're the ones that were there to celebrate with
me, they're the ones who guide me. I just love that feeling that
you get from knowing that you have people in this world who care for you and love you.
So, when you ask me to present myself ... my cousins, my
uncles, my aunties ... that's me, that's who I am.
KIPU KAI Written by Mary Puku`i and Maddy Lam and arranged
by Pomaika`i Lyman
No Kipu Kai ke aloha Home i ka pili kahakai
Ilaila au i ike ai I ka nui loko maika'i
Nanea i ka ho'olohe I ka halulu mai o ke kai
Ka nalu nui e holu ana I ka lae a o Kua-honu
Nanea i ka ho'olohe I ka halulu mai o ke kai
Ka nalu nui e holu ana I ka lae a o Kua-honu
Pau'ole ko'u ho'ohihi I ka nani a o Ha'upu
Mauna ki'eki'e iluna Hanohano ke 'ike aku
Pau'ole ko'u ho'ohihi I ka nani a o Ha'upu
Mauna ki'eki'e iluna Hanohano ke 'ike aku
Makemake wale ka ikena Ina manu pikake nani
E kaka'i e ha'aheo ana I ka malu a o ke kiawe
Makemake wale ka ikena Ina manu pikake nani
E kaka'i e ha'aheo ana I ka malu a o ke kiawe
Puana ia me ke aloha No ka nani a o Ha'upu
Me Keaka loko maika'i Ka haku a o Kipu-Kai
Puana ia me ke aloha No ka nani a o Ha'upu
Me Keaka loko maika'i Ka haku a o Kipu-Kai
Learning from my Tutu Genoa, you know, at the time, I probably took it for granted.
I was in high school. I just wanted to run through some
songs real quick. It ended up being a two-hour learn the
history of the song, the background, keep singing it back and forth until she felt like
I had the melody right. She always told me when I got on stage,
she said: You know, there's a lot of musicians, when they
sing, you can't understand a word they're saying. Sing clearly, enunciate your words.
Yes, you have a beautiful voice, but you also have a story to tell. Another thing that was
impressed upon me is that as soon as I step on that stage,
it's no longer about me anymore. My job is to make each person
in that audience feel something and smile, and walk away with a memory. My grandma set
a very good example for me that I hope that I am following.
BEAUTIFUL KAHANA Written by Mary J. Montano and arranged by
Pomaika`i Lyman
Mau loa nō koʻu mahalo nui I ka nani pūnono o Kahana
Ka moani ʻaʻala anuhea O na pali aʻo Koʻolauloa
ʻO ka home ia o ka wahine Puʻuwai aloha a ʻĪnia
He pua ua mili ani ʻia E ka Mālualua kiʻi wai
Tutu's parlor was a place of aloha. It was a gathering place. My grandma loved being
around people. She welcomed everyone. I can remember a lot
of her friends and our family coming in, and being able to
sit and talk. Tears, joy, hugs; that's what I remember. This is actually a magnified version
of the parlor, nd it brought me home. It's through the music
that I'm able to connect and feel close to my kupuna.
That's what the music is for me; stories of my ohana. You know, it's as if we're sitting
in our parlor, and she's telling the story. I'm in my parlor,
where I received instruction. I'm in my parlor for family
gatherings and prayers. I'm in my parlor, where we have memories of my kupuna who have
passed. This is the place where I feel that I can gain
the most inspiration to know who I am, and where I need to go. If
she were here, this would have been a very comfortable place for her to sit and just
enjoy the music.
NOHO PAIPAI Traditional song, translated by Mary K. Puku`i
and arranged by Pomaika`i Lyman
Pupue iho au i mehana Hone ana o uese i kuʻu poli
Pupue iho au i mehana Hone ana o uese i kuʻu poli
Me he ala nō e ʻī mai ana ʻAuhea kuʻu lei rose lani?
Me he ala nō e ʻī mai ana ʻAuhea kuʻu lei rose lani?
Malihini ʻoe, malihini au Ma ka ihu kāua kamaʻāina
Inā ʻo you me aʻu Kau pono i ka noho paipai
Inā ʻo you me aʻu Somebody's sitting in my rocking chair
Haʻina ʻia mai ka puana Hone ana o uese i kuʻu poli
Haʻina ʻia mai ka puana Hone ana o uese i kuʻu poli
That rocking chair was a constant in our living room; it was always there. And when people
came to visit, Tutu sat in that chair, and they sat
on the couches. Engraved on there, you see the GK, her initials.
I'm sure she was here. [CHUCKLE] It's always been behind me, but I haven't seen it rock
yet. [CHUCKLE]
PUA `ŌHAI ALI`I Written by Genoa Keawe and arranged by Pomaika`i
Lyman
He nani maoli no
Pua Ohaialiʻi, kuʻu pua nani Nani lua ʻole, e kuʻulei
Kui au i lei kau umauma Haku ʻia me ke aloha i lei poʻo nou
Nani no ʻoe ke ʻike aku He pua uʻi no ʻoe na ka malihini
He pua melemele, ʻulaʻula, alani, melemele He pua ʻakala, He uʻi maoli no
Nani no ʻoe ke ʻike aku He pua uʻi no ʻoe na ka malihini
He pua melemele, ʻulaʻula, alani, melemele He pua ʻakala, He uʻi maoli no
Pua ohaialiʻi, he nani maoli no
I think all of my life experiences to this point have been helping me to find my voice.
I've done a whole lot of things that you would consider left
field. [CHUCKLE] I ran for Mrs. Hawaii. You know, I went
to school for economics, and I ended up in music education. When I go out and perform
in front of people, I have more of a story to share. The
music is the story of our people. When you understand the
music and the stories, you'll be able to figure out more of who we are and where we come from,
and where we're planning to go. I love what I
do, but I also love being a mother. And I love the work that I
do with the youth and children, being able to instill that love for music with each of
them. And I think that that's an important part of my voice.
KA Y A KA PU`U Written by Lono Ikuwa and arranged by Pomaika`i
Lyman
Aia ma waena konu ka Y a ka puu
He puuwai aloha No na kamalei
Aia ma waena konu ka Y a ka puu
He puuwai aloha No na kamalei
Lei 'ia ke alo ona Hoʻopuakea'ili
He 'ili mahiehie I ka'u 'ike
Lei 'ia ke alo ona Hoʻopuakea'ili
He 'ili mahiehie I ka'u 'ike
Ike aku I ka nani O na poliahu
Pali ke kua, mahina ke alo He kina 'ole
Ike aku I ka nani O na poliahu
Pali ke kua, mahina ke alo He kina 'ole
Haina ia mai Ana ka puana,
He puuwai aloha No na kamalei
Haina ia mai Ana ka puana,
He puuwai aloha No na kamalei
He mele he inoa ka Y a ka puu
I feel that sense of kuleana to continue something that was started before me, to carry on the
legacy that she started. She knew that the music that
she performed was not just her. One of the blessings that I received was being
able to take on relationships that my tutu had, and kind of
inherit those connections. One of those people was Uncle O'Brien Eselu. I said: Uncle, but
I'm not Genoa Keawe. He said: No, you're not; you're
Pomaikai Lyman, this is your kuleana. And it was at that
point that I understood that I was going to be expected to carry on something that would
help to uplift not only my own family and myself, but others
around me.
KOU MAKA U`I Written by Henry Makua and arranged by Pomaika`i
Lyman
Haliʻa au i kou maka uʻi ea E lilo ana ʻoe
I loko o kuʻu puʻuwai Haliʻa au i kou maka uʻi ea
E lilo ana ʻoe I loko o kuʻu puʻuwai
Aloha au i kou maka palupalu ea E huli hele nei
Me ke aloha poina ʻole Auhea ʻoe me kou maka onaona ea
E hoʻi mai ʻoe A noho me aʻu e pili
Haʻina mai ana ka puana ea E lilo ana ʻoe
i kuʻu puʻuwai pumehana Haʻina mai ana ka puana ea
E lilo ana ʻoe i kuʻu puʻuwai pumehana
[END]
Pomaikai Lyman Page 8 of 8
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