November 26, 2006
Think “ukulele†and you’ll invariably get a quaintly exotic image in your head (and the wrong pronunciation – it’s “oo-koo-leh-leh,†not “you-koo-leh-lehâ€): warm sun, swaying grass skirts, coconut bras, colorful cocktails with umbrellas, and palm trees and a beach in the background.
It’s true, the ukulele is a stringed instrument that was born in Hawai’i (albeit it has its actual origins in a Portuguese instrument that was brought to the islands by 19th century sailors) and given its name, which means “jumping flea†in Hawai’ian. And it’s also true that the ukulele, which basically looks and acts like a miniaturized, four-string guitar, has helped spread Hawai’ian music and culture for a century, since Hawaiian music first caught the fancy of mainlanders during a 1915 exposition in San Francisco.
But the cute little uke isn’t just a tool for strumming up tourism to Honolulu.
I grew up – like all baby boomers – during an era of radio when the Top 40 format was perfected during the first two decade of rock and roll, and genres didn’t divide up into separate formats. An entire generation of pop music fans pretty much grew up listening to a wild mix of rock, soul, country – white and black – with a lot of novelty songs thrown in for good measure.
This was true through the 1960s, certainly and also up through the mid-‘70s. But two things happened to radio between, say 1969 and 1974. First, the FM progressive or freeform format that had emerged in 1967 began attracting the older rock music fans, and for the first time, after 1969, there was a defined generation gap. If you were in college and protesting the Vietnam war, chances were the Archies’ “Sugar Sugar†wasn’t as relevant to you as, say, Ten Years After’s “I’d Love to Change the World.†For me, being just 11 during the summer of 1969, bubblegum rock was a sweet and welcome part of my musical diet.
There was a lot of crossover between FM and AM, especially during the early ‘70s. For instance songs like Crosby, Stills, Nash and Young’s “Ohio†was a hit on AM as well as FM stations.
One of the most satisfying aspects of the Colorado Dragon Boat Festival, the annual Asian community event that I've been involved in since its debut in 2001, is the mix of traditional Asian and Pacific Islander culture on display along with the new, Asian American values and ideas. That mix is most evident not in the festival athletic competition or the marketplace, where 90+ vendors sell their wares, but on the Performing Arts Stage.
In recent years, some of my favorite performances have been by APIA artists playing contemporary music: Chinese-Filipino Wendy Woo, a popular Colorado singer-songwriter and guitarist, with her Woo Crew rock band; Dwight Mark, a Chinese American multi-instrumentalist mining everything from blues to bluegrass for his original music; and this year for the first time, Korean American singer-sonwgriter Phyllis Heitjan from Philadelphia.
The New York Times this morning tracked down the identity of "funtwo," the musician who has dazzled millions -- literally -- with his amazing dexterity on electric guitar, captured on a five-minute, 20-second video that is one of the most-watched clips of all time on YouTube.com. The mysterious player turns out to be a 23-year-old Korean, Jeong-Hyun Lim.
