In 1807, the Parliament of the United Kingdom passed the The Slave Trade Act, on 25 March 1807. The act effectively abolished the slave trade in the British Empire. This act however did not abolish the practice of slavery itself. Slavery in British colonies, especially in the West Indies, would continue for another twenty-seven years, until 1834. What the 1807 Act did accomplish was to begin the end of the Atlantic transshipment of Africans to British colonies for the purposes of slavery. Once the Act came into force, Britain pushed for other European slave trading states to follow suit. This would not happen for a numbers years.
The Act of 1807 suddenly changed the role of Britain from guilty participant to exonerated international rule enforcer. As the Britain's considerable Royal Navy had effectively controlled the world's seas, the role of enforcement was a natural progression. The Act created fines for captains who continued with the trade. The Royal Navy had declared ships transporting slaves were now categorised as pirates and patrolled the West African coast to ensure compliance. Between 1808 and 1860, some 1,600 slaves ships were seized and approximately 150,000 Africans were aboard.
Of these 150,000 Africans, depending on where the slave ships were seized, the Royal Navy were obliged to take the ship the nearest friendly port. Once the Africans were decamped, their fate depended on the place and the time and the need for labour. Prior to 1834, many Africans were enslaved. However, many were given liberated status. They were free.
After the 1807 Slave Trade Act was brought into force, Britain and Spain entered into an agreement in 1818 to stop the importation of slaves into Spanish territories. For Spanish slave ships caught by the Royal Navy were primarily bound for the plantations of Cuba, the Mixed Commission Court was established in Havana to hear cases against captains and crew members. A British-Portuguese court was set up in Sierra Leone for any Portuguese vessels captured by the Royal Navy.
And so it was against the backdrop that these events that we meet a boy named Pompey Dala. On the 13th of July 1832, the HMS Nimble, a Royal Navy five-gun schooner of war was employed on anti-slave trade patrol. The Nimble had captured a Portuguese slave ship named The Hebe. On board were 401 Angolans bound for the slave plantations. When the Hebe was boarded, the Africans were in such a poor state, diseased, wounded and starved that it was quickly apparent that they would not survive the journey back to Africa. The decision was taken to leave them in the Bahama Islands. At first, they were taken to nearest deserted cay, Highburn Cay. They were later transported to Nassau. would the illegal slaver Spanish were had The Hebe was a Portuguese slaver was seized and taken to Nassau. Some of the men were later recruited for work in the West India Regiment. The West India Regiment were army infantry unites recruited from and stationed in the British Caribbean colonies between 1795 and 1927. The rest of the 401 Angolans, the men, women and children, the ones who survived, were apprenticed to white Bahamians.
Here we have the transcript of the deed of apprenticeship for 10 year old African boy, Pompey Dala. Pompey was number 234 of the cargo of 401 Angolans on the Hebe. The boy was apprenticed, be deed, to the Collector of the Customs, James Walker in New Providence. Pompey was apprenticed for a period of seven years. He was 4 feet 2 inches in 1835. The deed of apprenticeship notes that Pompey was branded on the chest, with a mark, by slavers after he was sold into slavery in Africa.
Indenture of apprenticeship of a 10 year old 'liberated African' boy named Pompey Dala. Bahamas, 1835.
AS His said late Majesty King George the Fourth in and by His Royal Order in Council made and given at the Court of Windsor on the nineteenth day of July which was in the Year of Our Lord one thousand eight hundred and twenty five, after reciting as hereinbefore is recited, did by and with the advice of His Privy Council, Order that all slaves or Persons who had heretofore been, or who should or might at any time thereafter be so condemned, as aforesaid as Prize of War or as forfeited to the sole use of His said late Majesty, His Heirs or Successors for the purpose aforesaid, under or by virtue of the said recited Act of Parliament, or under or by virtue of any other Act of Parliament theretofore in force for the Abolition of the Slave Trade, whom it had not been found practicable or convenient to bind as Apprentices to any Person or Persons resident in such Colonies or Plantations, or to enter or enlist into His Majesty's Land or Sea Service, and who were then living, or who should, at any future time, be placed under the protection of the Collector or other chief officer of Customs in any of His Majesty's said Colonies or Plantations, should, by Indentures to be for that purpose from time to time executed by the Governor, Lieutenant Governor or other person for the time being administering the Government of any such Colony or Plantation, be bound as Apprentices for any term not exceeding seven years to such Collector or other Chief Officer of Customs, upon the terms and conditions and subject to the regulations therein and hereinafter mentioned: NOW THEREFORE this indenture Witnesseth that the said Blayney Towney Balfour, Lieutenant Governor as aforesaid, by virtue of the Powers and authorities to him given and granted in and by His said late Majesty's Royal Order in Council herein before recited, made and given in pursuance of the aforesaid statute here-inbefore also recited, hath put out and bound and doth hereby put out and bind a certain male African named Pompey Dala, about the Age of 10 years, 4 feet 2 inches in height, marked Ť on left breast, or by whatsoever other name, age, height or marks the said Pompey Dala, shall hereafter be known or distinguished, and on the twenty seventh day of October last past, which was in the year of our Lord one thousand eight hundred and thirty two, to wit, at His Majesty's Colony or settlement of Sierra Leone, on the west coast of Africa, by a certain sentence of condemnation in the British and Portuguese Mixed Commission Court, then and there established and sitting for the trial and adjudication of certain Slave captures, pronounced and declared to be emancipated, in pursuance of, and for the purposes in and by the subsisting treaties between His Majesty and the King of Portugal, in this behalf, provided and set forth:- and being number 234 of the cargo of the Portuguese ship or vessel called the "Hebe," whereof a certain Domingo Jose d' Almeida was, or was alleged to be the master, Apprentice to the said James Walker Collector of the Customs as aforesaid, from the date hereof for and during the term of Seven Years, to serve the said James Walker, Collector a s aforesaid, in some art, trade, mystery or occupation in the Island of New Providence, or some other island within this government ; provided always and it is hereby declared and agreed, that the said James Walker, Collector of the Customs as aforesaid, is by this Indenture bound and required to provide to the best of his power, and not further or otherwise, for the employment and instruction of the said Apprentice in such Art, Trade, Mystery or occupation in which it may be found practicable to employ or instruct him. And that this Indenture and the said Apprentice may be assigned by the said James Walker, Collector of the Customs aforesaid, to any other person within the said Island of New Providence or other island within this government as aforesaid whom he may think proper to be entrusted with such Apprentice at any time within the said term of Seven years for the residue of such term.
Reference: The National Archives, Britain, Catalogue reference: CO 23/94/6 folio 25. Crown Copyright.


So many people are completely unaware that many bottled waters and plastics contain toxins, even if they've taken out the BPA.
Plastic isn't just bad for the planet. It's not good for you either.
Bottled water companies increasingly use BPA-free plastic, but laced into plastic bottles are other chemicals that can seep out. Some of these chemicals have been shown to cause hormone imbalances and linked to various types of cancer, obesity and neurological disorders. In addition, may act as possible endocrine disruptors.
There is a growing appetite for reusable food and drink storage products that are safe to use. You only have to visit your local supermarket to see some of these products screaming "BPA-free" on their accompanying labels. After all, it's ridiculous to constantly buy bottled water only to throw the bottle away each time. And even if you end up reusing those bottles, they could still potentially be harmful due to the leaching of chemicals into the water.
There is no doubt these experiments further the evidence of widespread contamination from plastic. In fact, a Harvard study showed participants' BPA levels increase after just one week of drinking from plastic bottles. But even removing just this one compound may not be enough.
Polyethylene terephthalate (PET) is the main polymer used to produce plastic bottles, and has previously been shown to affect the hormonal system.
Research has shown BPA can mimic the neurological properties of estrogen. However, a more recent investigation published in Environmental Health Perspectives has shown that in some cases, BPA-free PET containers might leach more oestrogen-like chemicals.
BPA has been shown as toxic in humans in previous studies. For example, the substance is known to be disruptive to the endocrine system, or the hormonal system, through the thyroid gland. The thyroid is a large gland in the neck, regulating growth by secreting hormones.
The compound has been implicated in the increased occurrence of obesity, where urine analysis was also used to compare BPA exposure with body mass index measurements. It's also been shown to affect brain and behavioral development in children.


Is Sustainable Agriculture the Next Big Thing?
You are here: Home / Farming / Is Sustainable Agriculture the Next Big Thing?
With the world's population constantly increasing, one of the pressing problems that we have to deal with is producing enough high-quality, nourishing food to sustain everyone. Yet statistics aren't showing a bright future. Back in the 1930's, more than 45% of the US population lived on farms. Nowadays, as a result of massive population shifts towards urban areas, agriculture represents the declared occupation of only 1% of the US population.
Granted, we have significantly increased agricultural productivity with the help of machines that are capable of taking over tasks that would normally require strenuous labor. The downside, however, is that countless farmers and workers have lost their jobs in the process. Is there a way for sustainable agriculture to become an alternative worth considering and, if so, how will we get there?
The simplest definition for sustainable agriculture is the production of food, fiber, plant or other animal products by means of practices and techniques that protect communities, public health, animal welfare and the environment. Its aim is to not only protect our communities and families but also future generations by providing healthy food without compromising the environment it's practiced in.
Such a concept would surely garner massive support and acceptance, not only in small communities but also mainstream agriculture. While it offers economically sound alternatives to conventional agriculture, it also addresses environmental and social concerns.
The concept is simple: sustainable agriculture is only possible by meeting current requirements without having to compromise future generations and their ability to meet similar needs. For such a goal to be achieved, all those involved in sustainable agriculture must understand the interdisciplinary education required to improve the system as a whole.
Today's agricultural practices have profoundly affected the land and ecological systems by decreasing soil productivity, contributing to water erosion, soil compaction, increased pesticide concentrations in groundwater and soils, water scarcity, pest, fungus and other pathogen resistance, loss of wetlands, natural habitat destruction, deforestation, reduced genetic diversity and global climate change. But aside from environmental concerns, there are also important economic concerns worth mentioning.
With the intervention of the federal government in the agricultural sector, farmer income disparities have increased dramatically. Simultaneously, the food production, processing and distribution industry has slowly been overtaken by fewer and fewer players, so that market competition is no longer a reality.
Small farms and farmers have little or nothing to say about product prices while their produce is sold at a smaller and smaller price. Rural communities are being disintegrated; productive farmland is being taken over by suburban and urban sprawl while the use of antibiotics and pesticides have dire effects on the health of our families and loved ones.
Sustainable agriculture promises to repair many of the wrongs described above. From an environmental standpoint, sustainable farms aim to produce plant-based foods and raise animals free of toxic or chemical pesticides and fertilizers. Much like organic food, sustainable agriculture refuses to use genetically modified seeds and avoids farming practices proven to degrade the soil used to grow crops, the water or any other natural resources that the food production process depends on.
Sustainable farming practices (including crop rotation, minimum tillage, natural fertilizers, poly-crops and pasture-based livestock raising) ensure that farms foster the development of a healthy ecosystem, where the farm is in perfect balance with its environment.
Also, sustainable agriculture also promotes community interaction. The principle of economic equity ensures that farmers, workers, distributors, food processors and other employees have fair working conditions, are safe and have livable wages. Moreover, such farms promote local economies by creating jobs and bringing communities together.
Public health is another major concern when it comes to sustainable agriculture. Since farming practices in sustainable systems don't include using harmful chemicals, fruits and vegetables are safe to consume. Similarly, animals raised in such systems aren't fed or given any hormones or antibiotics, a known cause of antibiotic resistance.
In spite of the fact that there is no sustainable agriculture definition, countless communities and farmers have already adopted the concepts and practices that form the basis of sustainable farming. Slowly, even governments are joining non-profit and commercial organizations in their research efforts. Sustainability has become a hot topic, and agricultural policies will also sway towards sustainable agriculture as time goes by.
The USDA has even funded a project pioneered by John Ikerd, "1,000 Ways to Sustainable Farming" via its Sustainable Agriculture Research and Education Program. This project had one goal: that of showcasing and refining the concepts of sustainable agriculture and how successful it can be.
Sustainable agriculture is about productivity, successful yet caring farming practices, and the USDA Sustainable Agriculture Research and Education Project continued its funding of the project, which became "The New American Farmer".
While thoroughly explaining the concepts and describing the practice itself is enough to get people interested, the real way of communicating the true concepts behind sustainable agriculture is experiencing it firsthand. Farmers are more than happy to share their success stories and showcase their sustainable farm systems.
There's no denying that sustainable farming contributes to increased farm profitability, increased quality of life for all those involved as well as vibrant rural communities. The only question is whether a massive shift will occur and farmers will dare to reclaim what was once theirs. In the meantime, researchers and pioneers of the movement are seeking even better methods of achieving economic success.
Hey Buddy!, I found this information for you: "Is Sustainable Agriculture the Next Big Thing?". Here is the website link: https://backtofarm.com/sustainable-agriculture/. Thank you.


text:
Withermarsh Green är en by (village) i Suffolk, i östra England. Den har en kyrka. Withermarsh Green ligger nära byarna Stoke-by-Nayland och Shelley.

Referenser

Orter i Suffolk
Babergh

redpajama_set_name: RedPajamaWikipedia


> Outreach Working Group) for Denis Boudreau.
> drop the mild short-term memory loss problem altogether?
further exploration of the idea.
> Ms. Kaseem: Most people don't know what being legally blind means.
> lost most of her sight" (or something like that) instead.
new term, rather than to avoid it altogether.
I'd like to bring this to EOWG for further discussion too.
> from birth and has recently become deaf.
worth considering as an alternative.
This is a more sensitive issue that we had quite a bit of discussion on.
still convey the fundamental message.
Let me know if you are not convinced and want further discussion.
> paralyzation form arms, legs and head?
have other references on this but I'm pretty sure.
> interpretation of the WCAG 2.0 guidelines I've seen to date. Awesome job!
Actually it is more than WCAG alone but thank you for the note.
> These answers were last modified on 6 April 2011 at 09:29:37 U.T.C.
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Described in The Observer newspaper as "one of the finest young pianists in Europe", Zoe Rahman has firmly established herself as one of the brightest stars on contemporary jazz scene. Her second album, 'Melting Pot', was short-listed for the 2006 Nationwide Mercury Prize and was voted 'Jazz Album of the Year' at the 2006 Parliamentary Jazz Awards. The album has been hailed as "one of the most distinctive piano trio albums" (Jazzwise magazine), a "fantastic new album" (Courtney Pine, BBC Radio 2), and "in every way, an impressive sequel to her debut" (Jazz Review).
Her critically-acclaimed debut album, The Cynic, with drummer Winston Clifford and bassist Jeremy Brown, was short-listed for the BBC Radio 3 jazz album of the year review in 2001 and was described in Straight no Chaser magazine as "one of the best jazz albums of the year". Following the success of her debut CD, Zoe was nominated in the 'Rising Star' category of the 2001 BBC Jazz Awards. In 1999 she won the 'Perrier Young Jazz Musician of the Year' Award, which led to her recording three tracks on a Jazz FM-produced compilation, with drummer Daniel Crosby and bassist Orlando Le Fleming.
She has been the featured artist on countless Radio and Television programmes and is currently playing with Soothsayers.
Please contact us at Jack Russell Music if you would like to use any of Zoe Rahman's compositions for film, television, electronic media or covers.


SEATTLE – New Washington's men's basketball coach Mike Hopkins will retain assistant Will Conroy and add Tim O'Toole and Jason Hart to his staff, sources told The Seattle Times.
O'Toole and Hart were assistants in the Pac-12 and both have ties to Syracuse, where Hopkins had been assistant the past 21 years.
Conroy is the lone holdover from the previous regime led by Lorenzo Romar, who was fired last week after a 15-year tenure.
It's not immediately clear what will happen with Michael Porter Sr. and his son Michael Porter Jr., the No. 1 2017 recruit by ESPN and projected No. 1 pick in the 2018 NBA draft.
Porter Sr., a Husky assistant this season, has a year remaining on a two-year contract that pays him $300,000 annually. Reportedly, he's a candidate to join new Missouri coach Cuonzo Martin's staff and return to Columbia, Mo., where he was on staff with the Tigers women's basketball team before joining UW.
The NCAA allows three assistants, while other staff members are restricted from coaching on the court.
O'Toole, a native of White Plains, New York, was an assistant at Syracuse, Duke and Stanford before spending the 2016-17 season at California. During his initial stint with the Orange from 1991-95, O'Toole coached Hopkins, who played at Syracuse from 1989-93.
O'Toole also served director of basketball operations at Syracuse in 2012-13 when Hopkins was an Orange assistant.
Hopkins recruited Hart to Syracuse, where he starred from 1997-2000. Hart left as the school's all-time leader in steals (329) and second all time in assists (709). He also shares the Syracuse record for most steals in a season: 101, set in 1999.
When Hopkins was a candidate for the USC job in 2013, Hart was reportedly set to join his staff. The Trojans chose Andy Enfield and he hired Hart, a Southern California native.
During the transition from Romar to Hopkins, athletic director Jen Cohen placed Conroy in charge of the program. The former Husky standout is the school's all-time assist leader, who helped Washington to two NCAA tournament appearances, including the Sweet 16 in 2005.
Retaining Conroy, a hometown hoops hero who starred at Garfield High, could dissuade UW players from leaving – three Huskies indicated last week they were considering transferring – and help Washington hold together a 2017 incoming class that's considered the best in school history.
Porter Jr. will likely follow his father, and his relationship with the Huskies was apparently severed when the school released Romar, his godfather. Porter removed "Washington commit" from his Twitter bio last week.
UW's incoming class, which was ranked No. 2 nationally by ESPN, also includes: Garfield High guards Jaylen Nowell and Daejon Davis; point guard Blake Harris from Raleigh, N.C.; and and forward Mamadou Diarra, a Mali native who plays for St. Louis Christian Academy in Missouri.
Published: March 21, 2017, 9:05 p.m.


text:
The Top Stories of the Fall Semester, 2018-2019
This compilation show features some of the top stories from the fall semester of the 2018-2019 school year. Each of the stories presents a variation on a theme that has become a hallmark of HIKI NŌ storytelling: empathy.
–Students at Waiākea High School in the Hilo district of Hawai'i Island tell the story of a married couple for whom empathy has become a profession and a way of life: husband and wife both work in the foster care industry and foster children themselves.
–Students at H.P. Baldwin High School on Maui tell the story of a fitness coach who channels his own physical and psychological challenges into developing empathy for his clients.
–Students at Maui High School in Kahului tell the story of a young woman who is grappling depression and has, on occasion, harmed herself. The student storytellers who created this feature deal with this sensitive topic with a great deal of empathy.
–Students at Konawaena High School and Konawaena Middle School on Hawai'i Island collaborated on a story which shows that empathy is not limited to people's feelings for other people. Human interactions with goats at the Dancing Goat Sanctuary prove that animals often elicit and deserve our empathy.
–Students at Kamehameha Schools Maui High School show how one teenager's empathy for girls who suffer from low self-esteem inspired her to launch a positive self-image workshop for young women.
–Students at 'Ewa Makai Middle School on O'ahu tell an empathy-driven story about the highly personal connection between a young dancer and her art form.
–Students at Waimea High School on Kaua'i tell the story of a girl's battle with Hodgkin's lymphoma in a way that leads viewers from feeling sympathy for to sharing empathy with the young patient.
This special episode is hosted by Yasha Ronquillo, a 2018 HIKI NŌ graduate from Maui High School who is currently a part-time HIKI NŌ teacher at her alma mater.
Posted in HIKI NŌ, Local	Tagged 1008, challenge, children, client, coach, compilation, Dancing Goat Sanctuary, Depression, elicit, empathy, foster, H.P. Baldwin High School, Hawai'i, Hawaii Island, HIKI NŌ, human, industry, interaction, Kahului, Kamehameha Schools Maui High School, Konawaena High School, Konawaena Middle School, Maui, Maui High School, occasion, physical, positive, self-esteem, self-image, show, teenager, Waiakea High School, women, workshop, young
The 2018 HIKI NŌ Fall Challenge – Middle School Division
This special edition features stories from the Middle School Division of the 2018 HIKI NŌ Fall Challenge. On October 19, 2018, ten participating high school teams and twelve participating middle school teams were given four days to complete a HIKI NŌ story based on the theme "the story behind the food". Teachers could not provide hands-on help. The students had to conceptualize, research, arrange, shoot, write and edit their stories on their own. The completed stories were scored by members of the HIKI NŌ editorial board based on the following criteria:
How well did the story capture the essence of the assigned theme?
How well did the entry fulfill the HIKI NŌ Story Criteria (the criteria used throughout the school year to determine which stories are approved to air on HIKI NŌ)?
How much did production values (the quality of the cinematography, editing and sound) contribute to the overall effectiveness of the story?
Based on the cumulative scores, first place, second place, third place and honorable mention awards were given in both the high school and middle school divisions.
The winning middle school stories featured in this episode are:
–First Place: The Fall Challenge team from Waiʻanae Intermediate School in West Oʻahu opened their entry with a meal being prepared. The story behind that meal is that it is being prepared by and for residents of Hope Lodge, a Honolulu facility where families of Neighbor Island cancer patients who are on O'ahu for treatment can stay.
–Second Place: Ewa Makai Middle School on Oʻahu told the story of Ali'itasi Ponder, the woman behind Aunty's Lil' Green Hut, an organic, gluten-free food truck on Oʻahu's North Shore.
–Third Place: Maui Waena Intermediate School in Kahului profiled an organic farmer on Maui.
–Honorable Mention: Kamehameha Schools Maui Middle School featured two women who met in college and went on to open a baking business together.
Also featured:
–Chiefess Kamakahelei Middle School on Kaua'i highlighted Kunana Dairy, which specializes in goat's milk products.
–Volcano School of Arts and Sciences on Hawaiʻi Island introduced us to the family behind Dimple Cheek Farm and Café.
–Hongwanji Mission School on Oʻahu featured Kahuku Farms.
–Kealakehe Intermediate School on Hawaiʻi Island told the story of a woman who is inspired to cook by the spirit of her late mother.
First place winners will receive $500 worth of production equipment for their school's media program. Second place winners will receive $300 worth of production equipment for their school's media program. Third place winners will receive $200 worth of production equipment for their school's media program. Honorable mention winners will receive $100 worth of production equipment for their school's media program.
Posted in HIKI NŌ, Local	Tagged 1007, Ali'itasi Ponder, Aunty's Lil' Green Hut, baking, business, Chiefess Kamakahelei Middle School, Dimple Cheek Farm, Ewa Makai Middle School, fall, food, gluten-free, goat, Hawaii Island, HIKI NŌ, Hongwanji Mission School, Honolulu, Hope Lodge, Kahuku Farms, Kamehameha Schools Maui Middle School, Kaua'i, Kealakehe Intermediate School, Middle School, milk, O'ahu, truck, Volcano School of Arts and Sciences, Waianae Intermediate School
Dancing Goat Sanctuary on Hawaiʻi Island and other stories
Posted on August 6, 2019 August 22, 2019 by PBS Hawai'i
Students from Konawaena Middle School and Konawaena High School in Kealakekua join forces to tell the story of the Dancing Goat Sanctuary on Hawaiʻi Island. The sanctuary is situated on an organic farm and is dedicated to providing abused, orphaned and abandoned goats with a safe environment in which to thrive. Youth and animal advocate Shawna Gunnarson utilizes the goats for an afterschool program at the sanctuary that teaches students how to treat animals compassionately, setting a path for both animals and youth to build lasting connections.
ALSO FEATURED
–Students from Kapaʻa High School on Kauaʻi show how to take simple steps towards developing your own personal style.
–Students from H.P. Baldwin High School on Maui show how to get started learning American Sign Language.
–Also from Baldwin, the story of a fitness coach who overcame his own personal struggles to become a motivating force in peoples' lives.
–Students from Waiʻanae Intermediate School on Oʻahu introduce us to a teacher who has turned a sustainable garden into a special place of learning.
–Students from Pomaikaʻi Elementary School on Maui tell us the history of the musubi in Hawaiʻi and show us the right way to make one.
–Students from Maui High School tell the story of Maui-based painter Philip Sabado and how he re-connected with his Hawaiian culture.
Posted in HIKI NŌ, Local	Tagged 1003, American Sign Language, coach, Culture, environment, fitness, garden, goat, H.P. Baldwin High School, Hawai'i, Hawaii Island, Kapaa High School, Kaua'i, Kealakekua, Konawaena High School, Konawaena Middle School, Maui, Maui High School, musubi, O'ahu, personal, Philip Sabado, Pomaika'i Elementary School, sanctuary, style, sustainable, teacher, Waianae Intermediate School
Nani Lim Yap
Musician, singer and dancer Nani Lim Yap tells how her Lim family's music grew from an entertaining pastime to a career that takes them around the world to perform. She also reminisces about her upbringing in Kohala, Hawai'i Island, and the way she keeps the traditions and stories of her ancestors alive as a kumu hula.
This program will be rebroadcast on Sunday, June 23, at 4:00 pm and 11:30 pm.
Nani Lim Yap Audio
I can remember when we were trying to do chants and mele. We would choose other places, and something would tell us: Why are you choosing to do an O'ahu mele, when there's so much right here? Not somebody came to us and told us; it was this feeling that you got, like, there's stories here that need to be told, so tell these stories first. And that's how we began going in that direction, telling those Kohala stories, singing those Kohala mele.
Nani Lim Yap, descended from the ali'i of Kohala, keeps the traditions and stories of her ancestors alive through mele, chant, and hula. A member of the remarkable Lim musical family, Nani Lim Yap says she'll always call Kohala home, no matter how far her travels take her. Nani Lim Yap, next, on Long Story Short.
Aloha mai kākou. I'm Leslie Wilcox. Nanette Lim Yap, better known as Nani, was one of six children growing up in Pu'u Hue in Kohala, on the Big Island of Hawai'i, where her father was a cowboy at Parker Ranch. In their isolated mountain community, playing Hawaiian music was the family's primary source of entertainment. The musically gifted family was discovered by the rest of the world when Nani's mother, the late Maryann Lim, was asked to play at the Mauna Kea Beach Hotel when it opened in 1965. Performances soon became a family affair, and the music group known as The Lim Family became a well-known, much-respected, and popular Hawaiian music group. Learning the songs at a young age came easily to Nani, she says, because it was not only through her parents that she learned Hawaiian language.
My father worked for the Parker Ranch. And they had these little stations, and little housing for the workers. And some workers would have their families, whole families. So, we were one of them, another family. Just two other families, other than us. And so, we were raised out there.
So, very remote.
Very remote. So remote that when we did move into town, streetlights bothered us.
Well, when you say town, do you mean Kohala town?
I mean Kohala town.
Because it was so far.
And the streetlights bothered you?
Yes; all of us. And we'd be up at night, like …
'Cause starlight was all we knew, you know. But we grew up at Pu'u Hue. And very close; all of us were very close, me and my brothers and sisters.
Your parents would take you on long rides, and you had a Rambler station wagon. They don't even make Ramblers anymore.
Not for many years.
No. So that story is all of us in that car. Like when it was time to go holoholo, oh, my gosh, we're gonna go someplace. And it was my father; he just loved to drive. My father, my mother, one child in the front, and all the rest of us just filling up the back seat. And we would go. We would have one 'ukulele. We fought over the 'ukulele like: Who's going to play the next song? So, if you make a mistake, you gotta pass that 'ukulele on.
This was as you're driving along.
As you're driving; yeah. So, goes like this, goes like this. But if you were the longest, then you were the winner.
So, very competitive kids.
From when we were young. And you know who won the 'ukulele; right?
Always?
Yeah. That's why I'm the 'ukulele player.
It's so interesting, 'cause none of you has had formal training in any of this.
Nope. Nope. Not in music.
You picked it up, and figured it out, and listened, and learned.
Yeah; my father taught us how to play all the basic keys. So, if you try to give me a sharp or a what, it's like: show me it.
You show me it, and you tell me it, and I'll get it.
And do you read music?
No; no. Even my brother, when we were growing up, I would take him to his piano lessons. So, he'd be playing along and playing along. And then he'd finish, and she'd say: All right, Elmer, now read the notes. 'Cause he'd be playing by ear, by what he heard.
And Elmer is Sonny?
Was music always a part of your life?
See, my father and his friends played, and my father and my mother sang to us. That's what they did. Yeah. So, my mom sang, and my father played, and that's how we knew that they had that. And my mom had a hula background, and she was our first teacher.
Were they singing in Hawaiian?
In Hawaiian.
And did you understand Hawaiian?
This is how we understood Hawaiian, is my grandparents. My grandfather and my grandmother spoke fluently. And they were our babysitters. So, when we were little, it was so easy to understand what they were talking to us about.
That's manaleo style, isn't it?
It's the real thing.
So, understanding them, even being around them and hearing them talk, we knew exactly what they were talking, 'cause from babies, we knew that. But however, my parents, my mom them didn't follow through. 'Cause it was at that time when it wasn't good to speak the language.
You were supposed to go Western.
And succeed in that world.
It's so sad. Just one generation away, you know. And we've lost so much. But however, if a song played, you knew exactly what the song was talking about. Because it was just automatic; you just knew Hawaiian already.
So, you didn't just listen to the music; you could know what the songs were about.
Easily; easily. Even my mother was surprised. Like, we had this old radio, just this old radio, and you only could play it as certain times, 'cause you didn't want to break the radio, 'cause that was like your communication to the world. So, it was like, okay. And then, the songs would play, and we'd be like, we know it. And so, I'd tell my mom: I know exactly what this song is saying. She said: You do? I said: Yeah. And I'd tell her what it is. She said: That's amazing that you would know that. I said …
That's what it says.
Yeah. And then, I'd um, gesture things to her. I said: Because I think this is what they're saying. She said: Oh … oh, so … you have that hula sense already. Yeah? So, just by knowing what that was, making interpretive movements, and then her being our first teacher, that gave me the—you know, it's not that gave me the know-how, but it's just automatic that everything came into play.
So, for you, it wasn't choreography and the movements of hula that came first; it was the story behind the music.
Definitely, definitely; story behind the music.
You've had your fascination with non-Hawaiian. You did Beatles, and Elvis, and Supremes; right?
Everything. I love Supremes. I love all that kinda music. I loved it, and I would sing it, too. We'd all sing it. And then, we just realized that Hawaiian was where it's at. Because it was always around us, always around us, Hawaiian music.
But one day, there will be dancers who are saying: I'm from the Nani Lim Yap, that's who gave birth to me. Even though you're saying: I didn't really do anything except pass it through.
I'm hoping. And they know; they know what my intention is for them, is that they continue. Any of the mele that I've taught them in their lifetime that they've been in hālau with me will remain the same.
Nani Lim Yap of Kohala, Hawai'i Island, was twelve years old when she started performing with her family at the Mauna Kea Beach Hotel. Dancing hula or singing with her family, whether it was on a formal stage or at a baby luau, became a regular part of her life. Yet, she didn't necessarily see herself growing up and becoming a professional musician, or a kumu hula.
After high school, you moved to O'ahu.
To beauty school.
Yeah; I came to beauty school. That's what I wanted to be; I wanted to be a beautician, they said back then.
So, you didn't see being a musician or performer as a career, then?
No. No.
Even though you'd actually made money for it already in your teens.
Yes. I don't know; I wanted to do hair, I wanted to do hair from when I was younger. If somebody was available during the afternoon on a Saturday or Sunday, they were sitting down in this chair, I was gonna give them some kinda up-do or something. That was what I thought I knew, that's what I wanted to do. But then, when I came home and I had my first job at Mauna Kea, in the evening time my parents would say: Come over here and sing with us. And the first time, my father said: What's wrong with you? I could not look at the crowd. I would sing backwards like this, or sideways. My father said: Is something wrong with you? I said: I can't look at them. He said: Stop it; stop it, stop it. Like, I would just try not to, I was afraid of the crowd. Isn't that crazy?
But you'd performed before.
No; I performed before as a dancer, but not as a singer.
I see; I see.
So, it's like, okay. Then I had to break that habit, break that habit. And then, the next time, my father would say: You guys gotta smile; you have to smile, you have to smile. And I was like: Okay, smile. This was when I'm singing, and I'm trying to. Because I don't know; I didn't think I was like, that great. So, I'd be like, I don't know if they like it, I'm not sure if they're gonna like it. And then after, you get your confidence up. And then, the more I played, the more money I made standing up and playing than standing up all day to do hair, and my feet would be sore. So, it was like, okay, that's just the easiest route to go, just play music.
I know you were a co-kumu hula with your elder sister Lei for many years. And now, all three of you; Lorna, Leialoha, and you have your own hālau.
Separate; yeah. Which is fine. I think we still all have the same mindset. We were raised in that kind of environment, you know.
Same mindset, but different visions?
Yes. I guess our missions have changed, I think. You know, what is it that you really want to accomplish; yeah? For us, lineage is important; yeah? What are we passing on, what is the style that our kumu from Kohala taught us. 'Cause that's it. Somebody said: Is that your Kohala style? And I would say: I think so.
What is Kohala style?
See? Everybody would ask me that, and I said: I'm not sure. But some others, if you were on the outside looking, they would say that's distinctly different from Ka'ū. And I thought: Really? I never saw dances from Ka'ū.
So, you still can't quantify it, but people from all over see it as being different.
That's different, that's a Kohala style. And I was like, okay.
But you can't point to any one thing about it?
Nope; nope. Because it translates to us as being something that we've always done. And so, if you're wanting to perpetuate, I think future wise now, I think that's where hula is now, at the lineage state, at a place of lineage. Like, what are you passing on; yeah? So, my thought is: Do you mix both styles together, or do you carry this lineage through and make sure that your students now understand that you learned from this? And this would be part of your koi or your—
Are you allowed to combine your own mana with that, with someone else's?
See? I think you have to honor them.
Ah …
If you took hula from them, I think you have to honor them and keep that as a separate entity that moves forward. When I look at hula, yeah, I look at just being a vessel. That hula moves through me. Yeah. Lineage comes from kūpuna. And then, the lineages that come from Kohala before that; it's all of this that goes through this. Yeah. I cannot claim I own that. I cannot claim that it's actually from me. It comes from a place, and it moves through me. It has to.
And do you change it, by virtue of its having moved through you?
Oh; so a lot of the mele that we've learned from them, those mele still remain. Mele that, like, from research and all those movements, all those things that we've shared with you, and what we've choreographed now; same style. The style remains the same. That's how you continue that.
Nani Lim Yap of Kohala, Hawai'i Island, has made a successful career as a member of The Lim Family, playing Hawaiian music with her brother Sonny and her sister Lorna at the Mauna Kea Beach Hotel and Mauna Lani Bay Hotel. She also has been successful as a kumu hula, entering hālau into the Merrie Monarch Festival that have been perennial winners. But even with all the success, surviving as a musician often means traveling outside the State.
The way to make money and to support your family the best, I take it, is if you fly away.
Yeah. Now; now, yeah. Because they want that music, they want to dance that hula. Yeah.
What does that say that it's not valued that much in Hawai'i, in our commerce centers? Waikiki, which used to adore the entertainment.
Yeah. Gotta bring that back. I'm not sure how.
But Japan and who else? Japan loves hula.
China, now.
Yeah. Sweden, Taiwan.
And you've been to all these places?
I've been to Taiwan to teach, I've been to Japan to teach. People want me to come to China. And I'm like: China? Are you sure they're ready for us? I'd have to start, like, teaching them from the very beginning. No; that's what they want, they want it. And yes, that is the place to make the money.
You know, I'm surprised you don't have a fulltime family travel agent. Because I know we've talked to your husband a lot in arranging appointments with you and your family, and he's always booking flights, isn't he?
He's really good at it, that's why. There was a time when we … I'm not sure. I think it was earlier in our hālau career, where we were booked by Hayden Holidays to go to the mainland, just like for about six years, we would do it. And he'd be the one; they'd book all the flights and everything for us, but he'd be the one. Like, all right everyone, this is the last day, get everything together. He gets everybody up, he gets everybody on the plane, he makes sure everybody is … so everybody knows him as Ed, the tour director.
Because he did that so well.
How does it work as a family? I mean, I know there's a family business, but there are several family members involved. And you all play in different combinations, in different cities, at different times. I mean, so hard to keep track of you.
How does that work as a business?
Well … there was a time, I think, when we stopped doing the job at Mauna Lani, that we all decided to do other things. So, my brother is a soloist. He's still there as a soloist, which was good for him. Yeah; it's good for him, 'cause then he can be expressive to his own type of thing. And then, we'd have the Atrium job, which would be a combination of people. So, Lorna would do that, and then my husband Ed would do that, and then my daughter Asia would help them do that. And Asia learned how to play bass from her father, so that's her instrument right now. So, all the different combinations. If she can't go, then I would go down there and sing in that.
So, you can always find a family member who's very versatile to jump in.
Best to do that. Yeah; best to do that, is to keep your family together. Keep your family together. Then of course, my brother had his own Hawaiian group, too, with some of our local friends from Waimea and Kohala. They were so good. They played all the Eddie Kamae songs, 'cause that was what their group loved to do that. Yeah. And then, now he plays with a lot of other people. Which is fine, as long as we're not playing. You know, The Lim Family together.
But it all seems to work out, no matter what. You know, you're hired to do all kinds of gigs, and it seems like you can kind of manage so many things at once, I guess because you have so many people who can jump in last minute.
Yes. For our regular jobs, yes, people could take over for us. Well, well, Mauna Lani just closed, yeah, so that job, we don't have anymore. For me, I'm kinda happy, because it was from the beginning of time, when they first opened.
And they're doing renovations; right?
Yeah, renovations; yeah. It's gonna for a year and a half, I think, or almost two years. Something like that. Yeah; so you know, we just have just the Mauna Kea show, and that's all taken cared of.
Which means you can all travel more.
We can all travel more. So, if Lorna goes away, then we have another emcee that we bring in from O'ahu to do that. And then, yeah. And I've not gone back to that show for a while. Yeah. That is our show, though, but I've not gone there, 'cause they'e good.
And what do you do instead?
I just hang out at home until somebody calls me to go to Japan. No.
I just figure out when to go. Like, at least every other month, I'm going to Japan. But if you met my students, they're like Hawaiians. They have so much aloha. You know. And a lot of aloha for the culture. Yeah.
You've been with them a long time?
Long time. Long time, they've been my students.
Why do you think Japan has embraced hula so closely?
Ooh; I think at first, it was, what they saw is what they liked. Yeah? And then … gosh, I'm not sure. I just think they just love everything about our hula. The costumes, the flowers, the leis, the movements, you know, and some really want to graduate knowing, you know, hula as part of their lineage, you know. So, I think they're just moved by it.
And you know, Japan is very proud of its own lineage. They're very much into the past, as well. So, to be so interested in another culture's past, and to practice it.
Yeah. And then, when we go over there, they want us to go to their temples. Go to our temple, and could you do a blessing? What are you saying? What is a blessing? Maybe oli? I said: Ooh, okay. And then maybe do a dance. Now, when you come to that kind of thought like in their temples, yeah, they're wanting us to do their kind of culture, I had to stop and sit back, and think about. What is my purpose? What am I going to leave or change in that space, that is going to make a difference? Why are you wanting me to do this; yeah? So, everything would have purpose and intention.
Have you ever thought of staying there for an extended period?
I thought about it. I thought about living there. And then, I thought: No, I wouldn't like it. And here's the thing, is that if you live there, people will get your place, they'll rent it, they'll make sure it's there, they'll get you places to go and make a studio. It's amazing how much kōkua you can get from Japanese who want to …
They'll take care of you because of what you do.
Who want to be able to learn hula. Like, it's almost amazing. Then I said: No, I don't think so.
They have so much hunger for it.
Yeah; it's amazing.
I see in your career, you know, you've done very natural things. I mean, you know, you've learned to research. I mean, everything seems like, okay, that's a good opportunity, I'll take it, I'll move into that. But going to Japan doesn't seem like a natural … you know. But it is, in terms of how the world has become. Because Hawai'i doesn't put that kind of premium on the hula.
That's true. I was thirty-five years old, I think, was my first time to Japan. And oh, my god, we loved it. My mother went, too. Was the first time in snow; fell on the ground. My mother ran outside and she said: Oh, my god, it's snow. And we were like, so cold. My mother was still out there, taking pictures of her in the snow. Well, we're just not used to, to those kinds of things; yeah? But that was our first time we ever went, was way up in Fukushima. And we went for three weeks, four weeks. That was hard. Was hard, 'cause we wanted to go back home so bad.
And yet you love the place, too.
And—yeah.
But that's how long we've been going. A long time.
That's right. So much travel.
Yeah; a long time. And from that one event, our very first event, we had several people who wanted to be sensei who came to see us. And now, they're great sensei of hula in Japan.
Yeah. They have some of the biggest hālau.
What are your predictions for the future for hālau, and for The Lim Family?
Lim Family, we have another generation of musicians and dancers.
Who are they? Who are your dancers and musicians?
Well, of course, Asia.
Your daughter.
And Manaola, of course.
Nani Lim Yap's son, Manaola Yap, is a widely known fashion designer. He learned costuming from his mother, researching and designing fabrics to tell the stories of the dances and chants.
You know, he sings as well, he writes as well too. And of course, Asia plays the bass, she can sing as well, she sings with all of us. Anuhea, my brother's daughter, she plays slack key. So, that's another. And then, of course, Lorna's children are the two. This past weekend was Keiki Merrie Monarch, and her youngest daughter won third place, and her hālau won third place. And so, lots of hula. The future is really wide open.
Mahalo to Nani Lim Yap of Hawai'i Island, for sharing her Kohala style. And mahalo to you, for joining us. For PBS Hawai'i and Long Story Short, I'm Leslie Wilcox. Aloha nui.
No Kohala Ka Makani ʻĀpaʻapaʻa
by Sarah Pule
Ua kaulana ʻoe a haʻaheo
Ka nuku aʻo nākānaka
Ua piha hoʻi me ke aloha
Ke aloha ʻāina ua ʻike ʻia
Ke aloha poina ʻole a kākou
Hoʻomanaʻo aʻe e lāe nākūpuna
ʻO ke aloha ʻo ia mau lā
Huli aku nānāi ka ulu hala
E kau mai ana lāi luna
Me Kona nani uluwehiwehi …
Posted in Local, Long Story Short	Tagged ancestors, career, Culture, Dance, entertainer, family, Hawai'i, Hawaii Island, Hawaiian, Hula, Kohala, kumu hula, Leslie Wilcox, Manaola Yap, music, musician, Nani Lim Yap, performance, sing, song, story, tradition, voice, world, writer
Royal Talent
The Lim Family of Kohala, Hawai'i Island
Posted on December 29, 2018 June 4, 2019 by PBS Hawai'i
By Liberty Peralta, PBS Hawai'i
Royalty and talent. Chances are, it's rare you've met someone – much less an entire family – who could truly lay claim to both.
For the Lim Family of Kohala, Hawai'i Island, royalty and talent course through their veins.
The Lims' lineage can be traced back to Alapa'i Nui, the chief who once ruled Hawai'i Island. As the birthplace of King Kamehameha the Great, and the residence of high chiefs (ali'i nui), the Kohala district is featured in many ancestral stories.
"Kohala's history had a lot of royalty," says Lorna Lim. "A lot of the families still exist today. They keep family stories alive through chants and mele."
The musically talented Lims are one of those families, with each family member well-versed in music, chants and hula. The six Lim siblings are: Leialoha Lim Amina, Nani Lim Yap, Charmaine "Minnie" Lim Davis, Elmer Jr. "Sonny" Lim, Lorna Lim and James "Kimo" K.H. Lim. Kimo died in a helicopter accident in 1997.
Their mother, the late singer Mary Ann Lim, was hired as a cook, then as an entertainer, at the Mauna Kea Beach Hotel in the 1960s. Naturally, the performances became a family affair.
To this day, the Lim children continue to carry the family's musical torch. Nani, Sonny and Lorna still perform regularly at Mauna Kea Beach Hotel, as well as the nearby Mauna Lani Hotel. They also frequent Japan to perform, and have traveled as far as Europe to entertain audiences.
"We're real grassroots," says Nani, whose husband Ed Yap is also an integral part of this musical family. "We've not really advertised what we do, who we are. I think it's just [people] seeing what we do."
This month, PBS Hawai'i viewers can see for themselves what the Lim family can do. A new episode of Nā Mele: Traditions in Hawaiian Song, recorded in our Harry and Jeanette Weinberg Multimedia Studio, features the Lims in a new setting, but a familiar scene: surrounded by music and family. Among the songs they perform are: "Ka'anoi Pua-Pua Olena," "Lei Ana O Kohala," "He Hene Ahahana," "Ka Wahine O Ka Lua" and "Pau Hana Rag." Among the featured hula dancers are: Leialoha Lim Amina; Lorna's daughter Wehi; and Nani's daughter Asia.
There's more. In a new episode of Long Story Short with Leslie Wilcox, Nani Lim Yap reminisces about growing up with her siblings on Parker Ranch, going on long rides in the family's Rambler station wagon, and overcoming stage fright. "I performed before as a dancer, but not as a singer," she explains. "I could not look at the crowd." Today, in addition to her regular Kohala hotel gigs with Sonny and Lorna, Nani is also an accomplished kumu hula.
And in a Long Story Short encore, we revisit our conversation with Nani's son, Manaola Yap. A fashion designer who made a splash at the 2017 New York Fashion Week, he's also a musician, hula practitioner and chanter.
"I do not name myself to be a designer that went to school and did all of that because that's not me," Manaola says. "I specifically come from the background and the understanding of the traditions of hula and the dance in its most traditional element."
It all comes back to the Lims' commitment to tradition and storytelling. "Hula, it is bringing those words to a living form," says Lorna. "And then you realize that mele are portals back in time. You bring this song [from the past] back to life, and come right back here to our time."
Posted in PBS Hawai'i Blog	Tagged Alapa'i, Alapa'i Nui, Aliʻi, band, Charmaine Minnie Lim Davis, cook, Elmer Jr. Sonny Lim, entertainer, family, Grassroots, Hawai'i, Hawaii Island, James Kimo K.H. Lim, King Kamehameha the Great, Kohala, Leialoha Lim Amina, Lorna Lim, Mary Ann Lim, Mauna Kea Beach Hotel, mele, music, Nani Lim Yap, royalty, storytelling
Posted on December 12, 2018 December 20, 2018 by PBS Hawai'i
Kukui and Gary Maunakea-Forth of O'ahu, Stacy Sproat-Beck of Kaua'i and Richard Ha of Hawai'i Island have built 'āina-based enterprises focused on building better communities. Hear how these visionaries behind MA'O Organic Farms, Waipā Foundation and the former Hamakua Springs Country Farms have put their values to work for the greater good.
This program will be rebroadcast on Sunday, Dec. 23, at 4:00 pm and 11:30 pm.
Community Builders Audio
Richard Ha
We always plan five, ten years out. We're always looking for where we need to be in the future. And we already know that this is happening, it's gonna get worse, so we're already moving in that direction.
Stacy Sproat-Beck
I remember asking that question when I was in college. You know; what about a nonprofit? Because I knew it was there, and it was really an amazing opportunity, you know, to be able to grow this entity that is really for the community, and to take care of the land, and to teach people.
Kukui Maunakea-Forth
That's what I love most about what we do, is that we're providing this way for young people at an early age to build equity. You know, and it's not just financial equity, but it's also equity in terms of the relationships that we're creating with other people in our community, and with the land.
Every entrepreneur seeks professional success. An uncommon few also aim to build a better community. Coming up on Long Story Short, our conversations with four individuals who are among a rare breed of business and community leaders.
Aloha mai kākou. I'm Leslie Wilcox. On this edition of Long Story Short, community builders. It takes a remarkable type of person to look beyond their own family, business, and circumstances, maybe beyond their own lifetime, and work to make life better for the broader community over the long haul. To illustrate the impact these individuals can have, we revisit four entrepreneurs running distinctive businesses and nonprofits on three different islands. We think it's worth another look at what these innovators have accomplished, putting their vision and values to work, and how they empower people in their communities.
First up, Gary and Kukui Maunakea-Forth. Though they come from different places—New Zealand and Nānākuli, this married couple came together through shared concerns about social conditions on the Wai'anae Coast of O'ahu. And when it came time to start their enterprise in 2001, making money was far from the top priority. Now the largest organic farm on O'ahu, the nonprofit MA'O Organic Farms is providing much more than food. It's creating a future for young people in West O'ahu, and educating leaders for the next generation.
Gary Maunakea-Forth
I think the first place it came down to was the fact that we weren't growing our own food. We definitely worried about the kids in our community. But I think because we saw all this land that was being wrongly used, we just kept asking ourselves: Why aren't we feeding ourselves? And then, we dug a little bit deeper, and one of our friends who's a soil scientist said it turns out that the soil in Lualualei Valley is one of the most unique and nutrient rich soils in the world. And we didn't know that, and kids in our community weren't taught that. The connection to the land had been severed. And we still to this day, those kids that come up to the farm, they've never been up in the valleys. And so, I think that's where it started. And then, you know, definitely as our kids started to get a little bit older and go through the same problems that other kids were going through, our connection to what kids in Wai'anae, what kids in rural Hawai'i are going through started to just, you know, really sort of slap us in the face; you know, the idea that a good public education is very difficult to get in Hawai'i.
We didn't want to just grow food and eat it ourselves. We wanted it to be highly marketable. Because, you know, when we analyzed our community, the state of poverty was multigenerational. And we thought that if we sell our own food for a premium price, that money wouldn't go back to our community. And so, we looked at the kind of social service kinds of things that we had been doing ourselves and that others were doing, and we wanted to add this what at the time was called community-based economic development. But we wanted to add this economic development layer that now has become social enterprise. And so, that's where it started.
I wanted it to be this great education program, and I wanted, you know, this element of culture and, you know, this element of vocational skills being taught, and this element of community work being done. And it just didn't happen like that at all. It was whatever, you know, resources and people that were sort of there at the time. And it started off as a ten-month-long experience; you know, farm work experience.
So, who were you first enrollees?
Multi people that we had talked to their parents at Tamura's. Or we saw down at the beach park and said: Hey, you know, we're starting a program; would you guys like to, you know, send your daughter? Oh, yeah; my daughter's graduating, and she doesn't really have plans; sure, we'll sign her up.
Those people that were meant to be there, ended up there. And, you know, all of us, you know, growing up on the Coast, the fact that there's only eleven percent that will go to college; that's a small number. So, what about the other eighty-eight, ninety percent that aren't going to college; where are those guys? And, you know, we thought long and hard about who we wanted to have this opportunity, and to have this experience. And it was really those that were going to become the leaders. So, this eighteen to twenty-four-year-old Wai'anae or Nānākuli graduate that had a desire to do something different, and to connect with not only the culture, but with a future in the community.
Almost every young person that has been in touch with MA'O—and this is pretty much the condition of the Wai'anae Coast, you know, the federal government calls them at-risk. And if you look deep at the statistics, you'll find that Waianae has twice the teen pregnancy rate, twice the substance abuse rate. All of these indicators are terrible, twice as bad as anywhere else. And so, most of the kids that come have issues at home, or in their own lives that they've got to deal with. On top of that, you know, we're told in this society that if you go and get a college education, you can get ahead in life, you know, you can get your American Dream. Most of the kids coming out of the public schools in the State of Hawai'i and in Wai'anae are what's termed remedial. And so, they have to be highly motivated.
When we started MA'O, we wanted to start it with an associate degree program. That took us three or four years to gain momentum, because when we went to Leeward Community College initially, they were like: Well, let's do a noncredit program. And so, we started with this ten-month-long program. And now, the various programs we have through MA'O are sort of designed to be like a movement, to have this environment of entrepreneurship, of I want to get ahead, I want to work hard, I want to give to my community.
Over time, you know, we nurture trust, and respect, and love.
And when kids first come to the farm, they generally come because we're gonna help them pay for college and give them a stipend. The farming, they could live without some of them.
So, in 2003, I think, was our first real official ten-person youth leadership training of these young people just straight out of college. And one of them went through the whole ten-months, and during that ten months he turned eighteen, and he was all over the place.
He was just growing up. And anyway, he stuck it out, and now, he's still with us, and he's twenty-five years old. And he's now the assistant farm manager. His name is Manny. He represents what we believe is the untapped potential of young men in Waianae. He can run the farm himself. I've seen him talk story with Alan Wong about food, talk story with Ed Kenney about food. At one of the fundraisers, he was talking about the farm to Pierre Omidyar, who's a billionaire. He represents, I believe, what a young farmer in the State of Hawai'i should be. Not just a person who's able to toil in the fields, but he can talk about the vegetables, he can cook the vegetables.
You know, we've tried to take the farming part of it, and make it sexy, and make it interesting. And the best and easiest way to do that is to allow the young people to do, firstly, a bit of everything.
So, they get typecast weeding a lot.
But they also get to do all the other jobs. You know, packing vegetables to go to Town Restaurant, or to go to Whole Foods is one of those things where they start to see the pride in doing it.
And the connection.
And get connection; yeah. And so, if they're at KCC Farmers Market selling vegetables, that's the ultimate job. You know, we're hoping now that the next step for us is that especially some of the young people who really all of a sudden like farming will be farmers, and will either farm larger spaces with us, or go off by themselves.
I think that's what I love most about what we do, is that we're providing this way for young people at an early age to build equity. You know, and it's not just financial equity, but it's also equity in terms of the relationships that we're creating with other people in our community, and with the land that feeds them.
Since 2009 when this interview first aired, MA'O Organic Farms has continued to do well. In 2018, a record twenty-one students graduated from the program with high school and college degrees, including from a new four-year program in sustainable community food systems at UH West O'ahu. While we enjoy the vegetables, MA'O is really growing the leaders of tomorrow.
Now, we head over to Kaua'i's North Shore, where Stacy Sproat-Beck is pursuing some similar goals at the WaipāFoundation. The Waipāeducational mission includes connecting people to the land, using natural resources responsibly, strengthening family, cultural, and community ties, and preserving a way of life. In 2014, Stacy Sproat-Beck told us why she was a world away from the work her business school professors expected her to pursue.
You went to USC, a very fine business school. What was the experience of going to college at USC like? I mean, there are a lot of wealthy scions, you know, sons and daughters of magnates.
It was kind of a culture shock. You know, not so much being in a city that size, or in a school that size, because you know, I'd lived here for six years in Honolulu, and gone to Kamehameha. And this is a big city, too. But definitely, USC was kind of a culture shock for me, and I didn't fit in that well. And you know, I'd raise my hand and go: What about family business? And they go: Oh, no, no, no; don't talk about that. You know, family business is really hard. And I go: Oh, what about nonprofits? And they go: Nonprofits? You know, maybe we'll bring somebody in to talk about nonprofits, but nonprofits aren't really where the money is. And so, it was kind of a different thing for me. But I still feel like I gained a lot of knowledge and important skills from going there, definitely. It was an amazing education.
When you came home, I think you were aware of what was going on, but weren't there for a lot of the fireworks. There was a lot of militance about the way land was going on the North Shore, the push for resort development, and the move away from a rural lifestyle.
On Kaua'i?
Yeah. It seems like that was happening. Yeah; that was happening throughout our childhood and youth, and my parents were really active, and my family was really active and fighting development, and wanting to manage it, really, and not just let it get out of hand.
And in fact, they were fighting Kamehameha Schools, where you'd attended, owner of Waipa.
Yeah; in the early 80s then, yes, Kamehameha became one of the entities that wanted to develop their landholdings there on the North Shore. They were in development mode, and so, their plans for Waipāand Lumahai were golf courses, resort communities. Back then, it was all about developing the land so they could make money to support the school at Kapālama and the Estate. Eventually, after four years of activism and negotiation, and the default of the potential developer, they were able to obtain a lease from Kamehameha for the sixteen-hundred-acre ahupua'a of Waipā, which is an intact watershed. It's amazing.
I moved home in '92, and I really started helping at Waipāin '94. And it was really just difficult. There were a lot of different challenges and issues.
And you were doing this as a volunteer?
Yeah. Well, farming with my husband on the side, helping manage Waipāon a volunteer basis. And then also, I think I was doing promotions for a boat company to actually make money to pay my bills. When Kamehameha went through strategic planning in 2000-2001, they changed their whole viewpoint on land management and revenue-generating lands, versus lands for culture and education. And also, kind of right around that same time, all of these other difficulties that we had just sort of went away.
What do you do on the sixteen-hundred-acre property?
My dad guys envisioned that the original founders, it was to be a land base for the practice and perpetuation of Hawaiian culture. And so, that was their vision. And so, we continue to perpetuate that today by doing programs for kids that connect them with the land, and also, you know, we do enrichment programs and leadership, and cultural programs. And they're in the garden and harvesting, and also just swimming in the streams and maybe doing a lot of the things that I did as a kid, that we all did. And I feel like what that does today is, it connects us back to the earth, when a lot of us are just busy living somewhat urban lives. It's helping them to make the connection. So, we do programs for kids. We do resource management. You know, we manage learning sites, and sites that we're restoring. We have a fishpond that we're restoring along the coast, and then we've got lo'i, taro fields, and gardens, and a native plants nursery. And then, up in the valley, we're doing reforestation. And then, sort of teaching and learning through all of that. And even another thing that's really amazing to us is that we've planted a lot of fruit trees lately, orchards of fruit trees, everything from longan and lychee, to mango, and oranges, and avocado, and ulu, star fruit. And really to be able to create abundance, lots of food, because you know, we know the importance of having lots of food there, both to feed ourselves and you know, to share with community, and then to market too. But also being able to take the kids out. Oh, and mountain apples, too; that's a big one. Being able to take the kids out and let them pick their own snacks off the trees. I mean, we grew up with that, but kids nowadays—
They look for a box.
It blows their mind when they go out and are able to pick mountain apples and eat them. It's just the most amazing experience for them. And for us, I think, that should be so basic, you know.
What's the goal for WaipāFoundation now in the ahupua'a?
So, our vision is a thriving an abundant ahupua'a, and a healthy community that's connected to their resources. And so, it's both … yeah, exactly that. Just thriving and abundant, with land and resources being healthy, and feeding us in many ways, both physically, spiritually, and then also community that is connected to the place that helps to take care of it, and is nourished by it, and also actively manages and takes care of the land. And I think that's our vision specifically for Waipā, but also, it's a larger vision. You know, Waipācould be just a microcosm of the State or the island, or the world, where everybody is directly connected to the resources that feed them and take care of them.
Our next guest may not have started out with quite the same intentions as Stacy Sproat-Beck or the Maunakea-Forths. Richard Ha went into the family farming business, and the founded his own farm on the Hāmākua Coast of Hawai'i Island. Along the way, Ha found that his business expertise and entrepreneurial vision prepared him to make progress on challenging issues like sustainability, food security, and renewable energy. Ha always tries to stay ahead of curve, anticipating the next big need. It all started with the can-do attitude he learned from his dad.
When you saw your dad farming, and you were playing with tomatoes, did you think: I want to grow up and be a farmer?
No. Actually, what happened was, I ended up wanting to go into business or into having some kind of organization to be in charge of. And the reason that happened was because Dad used tell stories when I was about ten years old. We had this kitchen table that was like a picnic table, with a bench and everything. And he would tell stories about impossible situations. You know, a business situation, or he had all kinds of different situations. And it would come down to he came up against a stonewall, there was no way to figure it out, and he'd pound the table, and the dishes would all fly. He would say—boom; Not no can; can! I remember that pretty clearly.
Not no can; can.
It's about problem-solving and the will to overcome the problem.
Yeah. It was just a given that you just don't come up to a problem and look at and say: Oh, that's it. You know, there was always a way around it.
What were you gonna do with your accounting degree?
You know, actually, I didn't really know. I just knew that I had an accounting degree, and if anything came up, I was gonna do it. But it just so happened Pop asked me to come back and run his chicken farm. I said: Okay, well, I don't have anything planned; I'll do that. So, I came back, helped him run the poultry farm, and in the course of that, met the supermarket people, learned how marketing and that kinda stuff worked.
And you learned from the ground, up on that end; right?
Yeah; yeah. I mean, we raised chickens when we were little, but the business end of it was different, you know. And with an accounting degree, it helped me to analyze stuff. And so, what happened was, we had forty acres, and twenty-five of it was in the chicken farm, so we had some extra land. And so, we needed to find out what could we do with no more money. 'Cause I only had a three hundred dollar credit card. Back then it was hard to get a three hundred dollar credit card. So, we started doing some research, and found out that there was about six million pounds of Chiquita Bananas being imported into Hawai'i. So, I said: Oh, man, if we could get into that, we should be able to do okay. So, we started trading chicken manure for banana keiki, and started two acres.
At what point did you have your own farm?
Well, yeah; that was my dad's farm, and we made it into a four-way corporation with my brothers. And then, from there, I went to Kapoho to lease some land over there. And that's when it started, maybe two years after we started the first banana farm. And then, when the sugar plantations started closing down, we were able to move closer in to Hilo, at Kea'au. So, we moved the farm there. At Kea'au, we expanded to three hundred acres, and by then, we became the largest banana farm in the State.
Are you confident that local people will buy local produce, even if it's more expensive?
Well, you know, it's really what we need to do to support our local farmers, because to be food-secure, farmers gotta make money. And come the time when we feel like this is really a serious situation, it'll happen. And everybody's talking about food security. Now, how do we do that? And the answer is, if the farmer can make money, the farmer will farm. So, it doesn't get much more complex than that. So, in an effort to figure out ways to help farmers make money, you know, with the help of the Department of Ag and the legislators, and a bunch of people, we pushed through legislation so that farmers could get cheap loans, low interest, long-term loans for renewable energy projects. And how we look at it is how it affects our workers, our community, and the environment. Every Thursday, our workers can come and just pick up all the different things we grow—bananas and tomatoes, and whatever, you know, as much as they need for their family. And we have profit sharing, although it's been tough the last few years. We have profit sharing, and we want to look, you know, toward whatever we can do to help them with the food side of it. Because it's hard for us to raise our workers' salaries, because we can't raise the price. Everybody's having hard time. So, we have to figure out other ways to help our workers.
Keaukaha Elementary School, a Hawaiian Homelands community, and a school that was in the academic basement for twenty years; you adopted a class there.
Yeah. What happened was, I volunteered to be on this thirty meter telescope subcommittee on the Hawaii Island Economic Development Board. And so, when you talk about telescopes, you automatically talk about the culture. Maua Kea, you need to talk about the culture. If you talk about the culture, you end up at Keaukaha. It's a seventy-five-year-old Hawaiian Homes community. And so, that's where I ended up. Yeah; so I went over there, talked to Kumu Lehua about telescopes, and had to learn a lot the culture. I didn't know as much as I do now. I was mostly worried about farming. But you know, the more I got into it, the more I needed to learn. And then, what was ironic was, here I am on the thirty meter telescope subcommittee, and you're standing in Keaukaha, you look at the mountain; there's hundreds of millions of dollars of investment up there. You look back at the school and the community. So, you know, there's nothing here of tangible relationship to that. But whatever the case, we decided this no can; we had to do something.
What do you see yourself doing in ten years?
You know, it's hard to say what it'll be, but I'm pretty sure it'll be something that I can't imagine now. Because we always end up doing something that's new and different. Yeah; so I expect that it'll be something new and different, but it'll be something, for sure.
And it'll be in farming?
I can't even say that. I don't want to just say one particular thing. But it really has to do with where our society is going, what our circumstance will be.
Since this interview first aired in 2008, we can now tell you what Richard Ha is doing. In 2016, he closed Hāmākua Springs Country Farms and was awarded one of the first Hawaii licenses to grow and sell medical marijuana with a company called Lau Ola. In the fall of 2018, he left Lau Ola after steering the company through its startup phase. He said he'll continue in the agriculture and energy industries.
Richard Ha, Stacy Sproat-Beck, and Gary and Kukui Maunakea-Forth all continue to grow their own enterprises, while building better communities across our state. We thank them for their vision and can-do attitude, and for sharing their stories with us. We hope they've inspired you. Mahalo for watching. For Long Story Short and PBS Hawai'i, I'm Leslie Wilcox. Aloha nui.
There's no one right way. And we've all sort of figured out this thing that we bring everything to the table, you put it down, if your idea is better than ours, then hey, we're gonna go with your idea. And that's how it even happened with that very first class.
Things have really just grown like crazy since then, and gone in an amazing direction. I feel like the lessons learned from those really hard times are kind of what maybe grounds me and the organization in sort of humility and remembering that things don't always come easy.
Pop taught us a lot of lessons, and it had to do with survival. Just do what you gotta do, and plan for the future, and you know, make decisions. You gotta do it, do it now, kinda thing like that.
And not no can; can.
Yeah; absolutely.
Posted in Local, Long Story Short	Tagged 'Āina, build, community, create, enterprise, Gary Maunakea-Forth, Hamakua Springs Country Farms, Hawai'i, Hawaii Island, Kaua'i, Kukui Maunakea-Forth, MA'O Organic Farms, O'ahu, people, Richard Ha, Stacy Sproat-Beck, visionary, Waipā Foundation
HIKI NŌ Class of 2018 Special, Part 4 of 4
Posted on October 2, 2018 October 13, 2018 by PBS Hawai'i
HIKI NŌ presents the last of its four-part Class of 2018 Specials, in which outstanding HIKI NŌ graduates discuss their HIKI NŌ experiences and how they feel the skills they learned from HIKI NŌ will help them in college, the workplace and life.
Part 4 features Melanie Lau, who graduated from McKinley High School on O'ahu and is now majoring in creative writing at Emerson College in Boston, Massachusetts; Hannah Dumon, who graduated from Konawaena High School on Hawai'i Island and is now majoring in digital media arts at Hawai'i Community College – Palamanui on Hawai'i Island; and Leanna Thesken, who graduated from Kaua'i High School in Līhu'e and is now majoring in media communications at Point Loma Nazarene University in San Diego, California.
To start off the show, each graduate shows a HIKI NŌ story that they worked on and discusses what they learned from the experience of working on that particular story. Melanie presents her story "Ignition Program," about a program at McKinley that pairs freshmen mentees with junior or senior mentors. Hannah shows "Gravitational Waves," about a Konawaena High School alum who was part of the team that recently proved Einstein's theory of relativity. Leanna presents her story "Food Truck Owner," about a food truck entrepreneur who combines his love of science and cooking to create a unique culinary experience.
Posted in HIKI NŌ, Local	Tagged 925, aua'i High School, Boston, California, digital media, Emerson College, Hannah Dumon, Hawai'i Community College, Hawaii Island, HIKI NŌ, Konawaena High School, Leanna Thesken, Lihue, Massachusetts, McKinley High School, media communications, Melanie Lau, O'ahu, Palamanui, Point Loma Nazarene University, San Diego
Episode #905 – Vietnam War veteran Bobbie Paik
Students from Kapa'a High School on Kaua'i tell the story of Vietnam War veteran Bobbie Paik, a Purple Heart recipient who suffers from Post-Traumatic Stress Disorder (PTSD). A major source of Mr. Paik's PTSD was the fact that twenty-two soldiers in his company were killed during the six months they were together. "…it's kinda hard, you know, I getting a Purple Heart, and friend from Maui, he went home in a box," says Paik. Paik discusses the various ways in which he copes with this PTSD, including restoring classic cars.
–Students from Kapolei High School on O'ahu show us how Girl Scouts keep pedestrians in Makakilo safe.
–Students from Aiea High School O'ahu show us the proper way to fold a T-shirt.
–Students from Konawaena High School on the Kona side of Hawai'i Island introduce us to an alumnus who was part of the recent Nobel-prize-winning project that measured the change in gravitational waves, proving Einstein's theory of relativity.
–Students from Waimea High School in West Kaua'i tell the story of a sausage vendor who has found great success with his kalua pork-topped hot dogs.
–Students from Aliamanu Middle School on O'ahu profile a Hawai'i-based Chinese American filmmaker and her eight-year-long journey to complete her documentary on another Hawai'i-based Chinese American woman from an earlier era who had produced the first Academy-Award-winning documentary.
–Students from Moanalua High School on O'ahu present a character study on a homeless surfer who is always there to lend a helping hand to his fellow surfers.
This program encores Saturday, Sept. 1, at 12:00 pm and Sunday, Sept. 2, at 3:00 pm. You can also view HIKI NŌ episodes on our website, www.pbshawaii.org/hikino.
Posted in HIKI NŌ, Local	Tagged Academy Award, Aiea High School, Albert Einstein, Aliamanu Middle School, alumnus, American, Bobbie Paik, Chinese, documentary, filmmaker, Girl Scouts, Gravity, Hawaii Island, kalua pork, Kapaa High School, Kapolei High School, Kaua'i, Kona, Konawaena High School, Makakilo, Moanalua High School, O'ahu, pedestrians, post traumatic stress disorder, PTSD, surfer, theory of relativity, Veteran, Vietnam War, Waimea High School
Episode #903 – Young Pig Farmer
Students from Wai'anae High School in West O'ahu tell the story of Matthew Reyes Jr., an enterprising young pig farmer who helps his parent run Reyes' Hog Farm in Ma'ili. Matthew is so dedicated to his family's business that he sacrifices any semblance of a social life. All of his waking hours are taken up by attending high school and working on the pig farm. Through this dedication, he has developed an in- depth knowledge of the pig farming business and a great sense of pride in his profession. He does want to study business once he gets to college because he feels it will give him an edge in this very competitive industry.
–Students from Waīakea High School in the Hilo district of Hawai'i Island introduce us to a high school track star who, through the friendship and camaraderie she developed with her teammates and coaches, learned to love a sport she once dreaded.
–Students from Kalama Intermediate School in Makawao, Maui, feature a Hawaiian Immersion teacher who connects to her culture by painting words that express its values.
–Students from 'Ilima Intermediate School in 'Ewa, O'ahu, tell the story of a young French horn player who learns about herself in the process of learning the music.
–Students from Kamehameha Schools Maui Middle introduce us to a wheelchair-bound school counselor who sees challenges not as obstacles, but as a way to grow.
–Students from Kaua'i High School in Līhu'e tell the story of young Thai immigrants who learn the value of hard work in Hawai'i's fast food industry.
–Students from Pacific Buddhist Academy present a primer on the ancient Japanese martial art of kendo.
This program encores Saturday, Aug. 18, at 12:00 pm and Sunday, Aug. 19, at 3:00 pm. You can also view HIKI NŌ episodes on our website, www.pbshawaii.org/hikino.
Posted in HIKI NŌ, Local	Tagged 903, camaraderie, challenge, counselor, Ewa, fast food industry, French, friendship, Hawaii Island, Hawaiian Immersion, Hilo, horn, Ilima Intermediate School, immigrant, Japanese, Kalama Intermediate School, Kamehameha Schools Maui Middle, Kauai High School, kendo, learning, Lihue, Makawao, martial art, Maui, music, O'ahu, obstacle, Pacific Buddhist Academy, player, process, teammates, track, Waiakea High School, wheelchair
Episode #902 – I Am Able
Posted on July 31, 2018 August 10, 2018 by PBS Hawai'i
Students from Maui High School in Kahului present an inspiring story about Keizhawn Daquis, a Maui Waena Intermediate School student who was born with spina bifida, a birth defect in which a developing baby's spinal cord fails to develop properly. As a result Keizhawn needs a wheelchair to get around. Despite his disability, Keizhawn is active in a number of sports, including tennis, surfing, wheelchair racing and swimming.
–Students from Kapa'a Middle School on Kaua'i show us how a love of dance has shaped the life and career of a Kaua'i-based ballet teacher.
–Students from Hawai'i Preparatory Academy on Hawai'i Island tell the story of an historic campus building that was physically moved into Waimea town and turned into an art gallery.
–Students from 'Ilima Intermediate School in 'Ewa, O'ahu, show us how to make the local sweet treat halo halo.
–Students from Kalani High School in East Honolulu tell the story of a young man who uses rap as a means of personal expression.
–Students from Kua o ka Lā Miloliʻi Hīpuʻu Virtual Academy on Hawai'i Island introduce us to a woman who is dedicated to the preservation of precious Hawai'i ecosystems.
–Students from Mid-Pacific in the Mānoa district of O'ahu reveal how their baseball team uses an ancient Japanese tradition as a source of inspiration.
Posted in HIKI NŌ, Local	Tagged ballet, baseball, building, campus, ecosystems, Education, Ewa, expression, halo halo, Hawai'i, Hawaii Island, Hawaii Preparatory Academy, Honolulu, Ilima Intermediate School, Japanese, Kahului, Kalani High School, Kapaa Middle School, Kaua'i, Keizhawn Daquis, Kua o ka Lā Miloliʻi Hīpuʻu Virtual Academy, Manoa, Maui High School, Maui Waena Intermediate School, Mid-Pacific, O'ahu, people, personal, rap, spina bifida, student, teacher, team, town, tradition, Waimea

redpajama_set_name: RedPajamaCommonCrawl


Double right femoral venous and single right femoral arterial access was initially obtained using 8-F sheaths. The arterial sheath was used for invasive arterial pressure monitoring. A medium or large curl 71 cm Agilis NxT steerable introducer (St. Jude Medical, St. Paul, Minnesota) was then placed in the region of the coronary sinus (CS) ostium (Figure 1). An ablation catheter (Thermocool Smarttouch Surround Flow D-F curve, Biosense Webster, South Diamond Bar, California, or Tacticath Quartz F curve, St. Jude Medical) was then used within the Agilis introducer to advance the Agilis introducer into the CS. After withdrawal of the ablation catheter, fluoroscopic CS venography was undertaken in left and right anterior oblique views using iodinated contrast injection. A lateral CS branch or, if absent, an anterolateral branch, was then identified for intentional perforation and exit. A 5- or 6-F JR4 diagnostic coronary catheter was used to subselect the target venous branch. A high tip load 0.014-inch angioplasty wire (Asahi Confianza Pro 12 or MiracleBros 12, Abbott Vascular, Santa Clara, California) was then used within the JR4 catheter to perforate and exit a small distal lateral vein (Online Video 1). Once the wire was seen to loop around the cardiac silhouette, either an over-the-wire balloon, without inflation (Ryujin Plus 1.25/1.5 mm, Terumo Interventional Systems, Somerset, New Jersey [2.5-F distal shaft diameter]) or a microcatheter (Asahi Corsair [2.6-F distal shaft diameter]) was then passed over the angioplasty wire into the pericardial space. The angioplasty wire was then withdrawn and a 2- to 5-ml contrast injection performed to confirm pericardial positioning in this series, although this is not an essential step for this technique to be undertaken safely if the wire is seen to loop around the cardiac silhouette.
A CO2 tank was connected using sterile tubing to a 50-ml Luer-Lok syringe and filled at a flow rate of 1 l/min. Up to 150 ml of pure filtered CO2 (1.5 ml/kg) was then injected via the microcatheter or over-the-wire balloon, using the hand-held syringe method, into the pericardial space observing the insufflation with left lateral fluoroscopy (19). CO2 was used as it has the unique properties of high solubility, low viscosity, and buoyancy (19). Invasive arterial pressure monitoring was used to prevent capno-tamponade. Once sufficient space was visible, the pericardium was then punctured anteriorly using a xiphisternal approach with a Quincke type 12-cm 22-G spinal needle (Vygon, Écouen, France). The initial 2 cases were undertaken using a conventional 18-G Touhy needle (marketed by multiple manufacturers); however, we changed to the aforementioned microneedle when we observed rapid CO2 loss and pericardial deflation upon initial subxiphoid puncture. The microneedle was pre-loaded with a soft-tipped hydrophilic extra support 0.014-inch angioplasty wire (High Torque Whisper ES, Abbott Vascular), allowing both rapid access and prevention of CO2 loss. After tenting, the needle can be visualized entering the pericardial space and the angioplasty wire is advanced and looped in the pericardial space (Online Video 2). A 5-F radial artery sheath (Glidesheath Slender, Terumo Interventional Systems, Somerset, New Jersey) is then passed over the angioplasty wire into the pericardial space. Once the radial sheath dilator is withdrawn, this is "double-wired" with the 0.032-in. Agilis Epi steerable introducer wire (St. Jude Medical). After the 0.032-inch wire is looped in the pericardial space the angioplasty wire is withdrawn and the Agilis Epi steerable introducer is advanced into the pericardial space. Aspiration is then undertaken to remove CO2 and any blood in the pericardial space and connected to a pre-vacuumed closed wound drainage system once irrigated mapping and ablation is undertaken. The microcatheter or over-the-wire balloon is withdrawn after successful epicardial access and the Agilis NxT steerable introducer is either used for RV endocardial mapping with right-sided cardiomyopathy or for subsequent transseptal left ventricular (LV) access with left-sided cardiomyopathy. In the case of transseptal access, this is undertaken under transesophageal guidance with subsequent heparinization targeting an activated clotting time of 350 s.
Twelve patients had attempted pericardial access using this technique, of which 11 were successful between January and May 2016 (Table 1). The median age was 65 (range: 37 to 81) years, with a male preponderance (9 males, 3 females). Diagnoses were ischemic cardiomyopathy in 5 patients, suspected or confirmed arrhythmogenic RV cardiomyopathy in 4 patients, and dilated cardiomyopathy in 3 patients. One patient was on aspirin, 1 patient on aspirin and rivaroxaban, 1 patient on clopidogrel and warfarin, 2 patients on rivaroxaban alone, and 2 patients on warfarin alone. Four patients were not anticoagulated. All patients on pre-procedural anticoagulation had this withdrawn pre-procedurally such that they were not anticoagulated at the moment of epicardial puncture. LV ejection fraction ranged from 15% to 61%.
It seems clear from this work and that of Greenbaum and Rogers that pericardial CO2 insufflation virtually eliminates the risk of inadvertent coronary vessel and RV puncture as the target for puncture is both large and directly visualizable (18). This, in combination with an anterior microneedle puncture, also reduces the risk of infradiaphragmatic trauma. The downside of this technique is that it adds about 15 min to the procedure and requires an extra technical step: coronary vein exit. Once the coronary vein exit has been performed, however, the subxiphoid puncture is then straightforward. That this is our first experience, and that we managed to exit a lateral/anterolateral coronary vein successfully in all 12 patients, suggests that the technique is not especially challenging. This will be particularly true for electrophysiologists who are familiar with both VT ablation and cardiac resynchronization device implantation. Furthermore, we believe that with increased experience and further refinement, our access times will be reduced. The main delays have been attributed to persisting with lateral branch subselection because we were keen to avoid approaching the LV summit or anterior interventricular groove because the potential for damage to the left main stem or left anterior descending coronary arteries with a stiff angioplasty wire after coronary vein exit. Whether this risk is real or only perceived is as yet unknown. In our later experience, we moved more quickly to an anterolateral branch if a suitable lateral branch could not be found. If exiting at any point within the coronary venous system is safe, then the technique will clearly be more efficient.
This is a single-center case series; a larger multicentre registry will be required to confirm both the safety and efficacy of the presented technique. The theoretical risk of raised defibrillation thresholds during CO2 insufflation has been raised by Greenbaum and Rogers (18). In keeping with their study, we also found that the time from CO2 insufflation to pericardial access is <1 min, thus making prolonged cardiac arrest in the event of failed internal and external shock unlikely. We did not find the procedure proarrhythmic in any patient despite their adverse arrhythmia history. The technique is more complex and time-consuming than the standard subxiphoid approach. Nonetheless, when undertaken by an electrophysiologist also trained in cardiac resynchronization implantation, it remains relatively straightforward and takes approximately the same time as vascular and transseptal access combined.


I believe that I provide my patients and their families with not only knowledge about their particular illness and treatment, but also guidance.
I have been a hematologist-oncologist for more than 20 years. During that time I have cared for patients with coagulation difficulties, benign and malignant blood disorders, and cancer. I enjoy this field of medicine as it involves all the organ systems, and requires not only a broad fund of knowledge but also the ability to interact with patients and their families on a very fundamental and personal level. The interpersonal nature of this field is aligned with my personality, and I believe that I provide my patients and their families with not only a wide range of knowledge about their particular illness and treatment, but also guidance through the emotional aspect of their particular circumstance.
I am interested in the treatment of lung cancer and will participate in clinical trials at Duke Raleigh Cancer Center.


Catalog for show at L.A.'s Museum of Contemporary Art, featuring work by minimalists Carl Andre, Patricia Johanson, Richard Serra, and many others. Essays by Diedrich Diederichsen, Jonathan Flatley, Carrie Lambert, Lucy R. Lippard, James Meyer, and Anne Rorimer.
452 pp., 300 color and B&W illus.