^B00:00:13 >> Stephen Winick: Welcome to the American Folklife Center at the Library of Congress. This is the Homegrown at Home 2022 Concert Series. And I will be interviewing Herb Ohta Jr. who is a master of the Ukulele. The Hawaiian instrument. And we look forward to talking with Herb. So I should just explain that these concerts have been a fixture of the American Folklife Centers Programming for many years. During the global pandemic we moved them to a virtual format where we have our guests record videos of themselves in concert. And that's what we've done with Herb. And we then do our interviews also in this online format. So Herb is in Hawaii. And I am here in Washington DC. So Herb Ohta Jr., welcome. It's really wonderful to have you here. >> Herb Ohta Jr.: Well thank you. It's - it's such an honor for me to be a part of this. And looking forward to some questions I guess from you, and - >> Stephen Winick: Yeah. Sounds good. Well how about talking, for our first question as - about the special place of the ukulele. The instrument in Hawaiian culture. >> Herb Ohta Jr.: Well I mean you know; the ukulele originally came from Portugal. And it was brought over here, and it was like they had certain different names, like Braginia or - I forgot the other name. But some of the - the original maker Manuel Nunes, started making these instruments. One of our monarchs here in Hawaii at that time, King David Kalakaua. He actually named it the ukulele. Because he was somewhat - he was watching someone play it and this guys finger was all over the place, all over the fingerboard. And he called the ukulele. And uku means - ukulele means jumping flea. So that's how the ukulele started. And now it has become an instrument of Hawaii. >> Stephen Winick: And it's been an instrument, as you say, of Hawaii for you know, maybe 100 years or so. But - but one of the modern masters of the instrument was your own father, Ohta san. >> Herb Ohta Jr.: Yes. >> Stephen Winick: Herb Ohta. So speak about his influence and how he came into the ukulele world. >> Herb Ohta Jr.: Well when my father was nine years old, my grandmother, his mom taught him his first song on the ukulele. And he got so hooked on it that he went roaming around Honolulu, Hawaii looking for a teacher. Someone that knew how to play this thing, you know? Like he wanted to learn more and more. So everyone told him to go look for Eddie Kamae, he's no longer with us physically. But my father credits him as his teacher of the instrument. And my father has been playing ever since. And his goal in life was to make the ukulele be known like a violin or viola or like a guitar, you know? Another string instrument that's more known across the world. Because my grandmother told him that he'll never make it as a musician. Especially an ukulele player. So I guess that kind of gave him some incentive. You know and some drive to prove my grandmother wrong and of course his own individual goals. But yeah, he's been very influential in the ukulele scene for geez, over 60 years now. >> Stephen Winick: Excellent. And why don't you tell us a little about what it was like to grow up with him, and have him be your dad as well as your teacher? >> Herb Ohta Jr.: You know my father is a marine. An ex-marine. So every time I got punished I had to clean everything with a toothbrush. But, but you know getting - you know my father started teaching me when I was three years old. And well that's, that's what I - that's what he remembers. And I don't remember anything at three years old. All I remember was probably just eating and watching television. But you know, he taught me the basics. He taught me the chords, how to hold chords. Told me how to read music. But you know, having a father very popular or famous I should say in the music scene, and for me to take it and decide to be a professional musician with it, it opened a lot of doors I have to be honest. But he told me that you know, having in the same name as him could probably open a lot of doors, but it's really up to me how long I stay in the room. So you know, not only was he a great father, but I consider him to be my idol in terms of the ukulele. >> Stephen Winick: That's great. Do you have any favorite memories of his teaching or his playing? >> Herb Ohta Jr.: Ha, there's this one story that always sticks out. And I always tell my students this story is that for my very first solo project back in '97, I asked him to be a part of it because I thought it would have been cool that he do a duet with me on my first project. And I asked him, I said can we do this song that was a hit for you on your first solo project here in the states, in the United States? And he says, "Sushi". And there's a song called Sushi. It's really a Japanese song, but the producers of the - that album that my dad recorded changed it to the word "Sushi". So I guess he thought that it would be more recognizable. But so he asked me if I knew how to play the song. And I said, "No, but do you have the sheet music?" And he says, "Do you have a recording of it?" And I said, "Yeah I do have a recording of it." And I said, "Yeah, but do you have the sheet music?" And he goes, "Well if you have a recording of it, listen to it." So I locked myself in the room for like three hours. Learned the whole song. And I - and I figured wow this is cool. I learned the song. I'm going to go tell him. So I opened the door and I looked out, and there's the sheet music. Right? So I asked him, I said, "I asked you if you had the sheet music. So I thought you didn't have it, because you asked me if I had the recording." He goes, "Well yeah, I didn't tell you that I didn't have it." But I want - "But I wanted you to learn it by ear." And I said, "Why?" And he goes, "So you can test your ear. And then you can look at the sheet music to see if you've got it right or wrong." So I looked and I'm going well I guess this was a lesson; so you know that - that story sticks out to me. >> Stephen Winick: That's great. Yeah I mean it also sort of opens the question of the oral tradition versus written sheet music, you know? If you were playing it maybe a little differently from the sheet music, you might have still been hearing it right. So it's - >> Herb Ohta Jr.: Right. Because see always said, anyone can learn technically. >> Stephen Winick: Yeah. >> Herb Ohta Jr.: Right? And you can be to the T reading music. And like a viola or violinist and whatnot, but until you learn how to listen and play with your ear, then that's when the feeling comes in. >> Stephen Winick: Right, excellent. >> Herb Ohta Jr.: But I - but yeah, that day didn't strike me like that. It was like, wow. I could have been done with this like in an hour. But not three hours. So - >> Stephen Winick: Oh well. >> Herb Ohta Jr.: Yeah. >> Stephen Winick: Yeah but that's - it's great you know, it's a great sense of his sort of teachings and his approach to things. So thanks for the story. >> Herb Ohta Jr.: Yeah, I mean - go ahead. >> Stephen Winick: Yeah, so we wanted to talk a little about maybe other influences that you had too. Other people who were influential on your playing. >> Herb Ohta Jr.: Well there's so many. There's so many people. I mean I'm known for basically playing Hawaiian music, because I love Hawaiian music. The traditional Hawaiian music. I think the beauty of the instrument really comes through with Hawaiian music. But I play contemporary as well. I can do jazz if I choose to or different Latin beats or whatnot. But there's so many - well my father is number one. Because like I said before, he's my idol. ^M00:10:00 I love listening to Prince. I think he's just way ahead of his time. To incorporate jazz progressions into pop music, you know it's like when Quincy Jones produced Michael Jackson's Off The Wall album and Thriller. And you hear all these jazz progressions in the background. Going how the - wow that's pretty cool. You know? >> Stephen Winick: Yep. >> Herb Ohta Jr.: Local, local Hawaiian - Hawaiian I think you might have heard of a slack key artist; his name is Ledward Kaapana. >> Stephen Winick: Yeah, in our series. Yeah. >> Herb Ohta Jr.: Yeah. He's a big influence on me. It's just his carefree playing. It's just amazing to me. But you know, but I mean I can go down the line, Eric Clapton, Stevie Wonder. I mean yeah, just a whole bunch of people. But my father and Ledward Kaapana is probably - and Eddie Kamae, my dad's teacher was probably my major influences. >> Stephen Winick: Great. Now one of the things that people notice about your playing is you - your especially clear tone that sort of you know, crystal tone that you achieve sometimes. How does that come about? I mean is that just part of your training? Or did you just - is it something that you cultivated? >> Herb Ohta Jr.: I think it was part of my training, because my dad had me - you know correct me if I'm wrong. I don't know anyone that has graduated from the Berkley School of Music. Or anyone that has attended. But it was a rumor that, I could be wrong, that for guitar players they have to go in a room, and it's pitch dark. And they have to play a piece. I think it was either a final or some sort of exam. I'm not sure. But my father used to have me practice playing the ukulele laying on the ground. And he told me that if I can't have the ukulele be an extension of me, then I won't be able to express musically how I really feel through the instrument. So I have to really know my instrument. So he had me laying down. And I had to visualize the fingerboard and where my fingers had to go. So I had to keep practicing like that. So - and he told me later that if you get used to that, and once you look at your fingers and the fingerboard that the note will be that much more cleaner. So I think it was because mainly from the training that I had from my dad. >> Stephen Winick: That's excellent. So you were lying on your back? And you couldn't see the - the - >> Herb Ohta Jr.: I mean I could see - I could if I had my neck you know - up. But I can't do that for an hour. >> Stephen Winick: Right. >> Herb Ohta Jr.: So, and then he used to walk in the room and said, "Don't fall asleep." And you know, and I would just practice scales and songs. So now it's like sometimes when I'm performing, I can look throughout the audience while I'm playing, and I probably won't - well 90% of the time I would - I would hit my notes where I want to hit them. Or else I'll just you know, play wrong note and just smile and cover it up. >> Stephen Winick: Yeah. So I was going to ask if you had any advice to other players on technique. But that sounds like great advice right there. That practicing method. >> Herb Ohta Jr.: Well you don't - okay. Well now when I give that advice, I don't tell them to lay on the floor. You know? I would tell them to go in a room where it's dark and you can't really see your fingers real well, and just practice you know? Because once you can have that instrument as an extension of you, there's no greater feeling of expressing yourself musically at the truest form. It's just a great feeling. >> Stephen Winick: Yeah. Thanks. So one of the things I noticed in the concert was you just mentioned that you do - that you are influenced a little by different Latin beats. And I noticed that your piece Sandcastles has kind of a Latin swing to it, maybe Brazilian sound. Was that something that you were going for in that piece? >> Herb Ohta Jr.: Well I mean I wanted it - I knew that while the story goes that you know, I was missing home. And - but I wanted a more soft - soft jazz kind of vibe. But because it's just ukulele and me, you kind of have - you kind of feel that Latin kind of beat. But I think if I had like a whole rhythm section with percussions and drums, I think it would be more of a soft jazz kind of vibe. But I don't - when I write music, I don't feel like oh I need to do it this kind of style or - it just - I just let it flow. And whatever ends up, ends up being, you know? >> Stephen Winick: So another thing you mentioned Ledward Kaapana. And that brings up the question of the influence of slack key guitar also, on ukulele players in general. But on you, on your playing. I know you played with a lot of different guitarists. But how does that influence your playing on your instrument. >> Herb Ohta Jr.: Oh, Hawaiian slack key guitar - how should I say this? The feel of Hawaiian slack key guitar. The sound of Hawaiian slack key guitar, of open tuning and playing the baselines with melody. It really - when you listen to it you feel Hawaii, or you think of Hawaii. So when I'm playing with a slack key guitar player. Like for example Ledward or someone else, I love that feeling. You know? And so it's easy for me to just gravitate to what they're playing and how they feel. And I don't you know; it makes me want to just enhance what they're doing. Instead of overpowering them with theatrics. I don't know, but you know what I mean? >> Stephen Winick: Yeah. >> Herb Ohta Jr.: It's just a special feel, yeah. >> Stephen Winick: Excellent. So - so you had mentioned actually earlier, David Kalakaua, the - you know as the person who named the ukulele. But someone that was in your concert that you played two songs by was Queen Lili'uokalani. Explain her connection and you know why you chose to include a couple of her songs. >> Herb Ohta Jr.: Well Queen Lili'uokalani, she was a - a wonderful composer of music. There's even a book published of all her songs here. And you know for Hawaiian music, and I'm pretty sure for western music as well, you know people compose songs to write about their time, there you know, that day. What's going on during their time when they've written the song. And for Hawaiian music especially, composers back then like Queen Lili'uokalani they wrote about their time. And because I wasn't there physically, you know at least you know if I get - there's Hawaiian lyrics and I have it translated to English, I have a feeling of what it was like at that particular time. And then I'll have a better understanding of the song and how I should express it myself. >> Stephen Winick: I mean her presence as a songwriter or her work as a songwriter is only obviously a small part of her legacy. And I wonder if you could fill us in a little on what is actually taught about the Hawaiian history and the Hawaiian monarchy in schools in Hawaii. And what did you learn growing up? >> Herb Ohta Jr.: Well I mean they - I mean they really, really wanted the people of Hawaii to be protected. And I mean like - like that's - you know that song - ^M00:19:28 ^M00:19:32 You know during - during the overthrow. And she had to be in house arrest at her palace. She wrote this song dedicated to a boy that delivered flowers to her. Right? And she - and he picked the flowers from her garden. And not - so not only everyday she only got flowers, she got flowers and the daily newspaper wrapped around the flowers, so she could know what was going on outside of her palace. Because if it wasn't for this boy doing that, she would have no clue what was going on outside of her palace. So - >> Stephen Winick: Right. >> Herb Ohta Jr.: You know that kind of thing, and you know the stories behind the songs really teaches me what goes on there. And the monarchy - the family, the basic family really had talent about - with writing music. And expressing themselves through music. That's what I gravitated mostly to was their music writing, their composing. I just thought it was beautiful music. And it will be forever, they're timeless. >> Stephen Winick: Yeah absolutely. >> Herb Ohta Jr.: Yeah. >> Stephen Winick: And how do you think that - that sort of colonial history of Hawaii affects the culture and the music today? >> Herb Ohta Jr.: Well for Hawaiian music, for traditional Hawaiian music people of today write music about their time here. So that's, I think that's what they've learned that they should write songs about today. So the people - the future generations will know what it was like here. You know? Instead of just reading it in history books. >> Stephen Winick: Yeah. >> Herb Ohta Jr.: Yeah. >> Stephen Winick: that makes a lot of sense, yeah. >> Herb Ohta Jr.: Yeah. >> Stephen Winick: So one thing you mentioned before was that you play different styles of music from traditional Hawaiian music to you know, current pop. But also you play sort of classic pop, so you have Over the Rainbow and the - in the concert as well. >> Herb Ohta Jr.: Yes. >> Stephen Winick: So how do you choose what mix to present at any given time? >> Herb Ohta Jr.: For me to - for me to learn a song or perform a song, the melody needs to grab me first. I mean for the ukulele you have either nylon strings or you have fluorocarbon strings. They don't sustain as long as a steel string guitar. >> Stephen Winick: Yeah. >> Herb Ohta Jr.: An acoustic guitar. So I have to - a melody that would grab me is a - the melody should have a lot of movement in it. Because for me, personally when I hear - for example if I hear a song on the radio I won't remember who performed it. But I'll remember the melody. Right? Because that's what people remember first, is the melody. Then they try to figure out who sang it or who performed it, right? So I think the melody is - the melody of a song is very important. And that's what I gravitate to. And then I will see what the song is about. If the song is political or something like that, then I basically choose not to play it. Because I don't want to be in the middle of some sort of argument. But that's why songs that I write, people are saying that - people tell me, I mean their response is my songs that I originally create are very melodic. But I think that's important. So - >> Stephen Winick: Great. So I guess one question that would come up for a lot of people, just looking at your catalog of the stuff that you recorded. How are - how are you able to be so prolific? Because you've recorded so many different albums. >> Herb Ohta Jr.: Well there's you know; I think there's a lot of songs in me that I still need to present or create. Music - see even though I do it as a profession, I still consider music as a blessing in a person's life here on earth. I think 99.9% of life would be boring without music. I think music is a huge part of bringing someone's emotions out, you know? It's like watching a television drama without music, it's not suspenseful if you don't hear something, you know? >> Stephen Winick: Right. >> Herb Ohta Jr.: Like in the background. Right? But I just think music is a blessing. So because I feel that way, I think it needs to be shared. I think people need to listen to it. Whether it's not from me, but from other people, you know? I just think music just needs to be shared, enjoyed. So I - that's why I keep doing what I do. >> Stephen Winick: That's great. So out of all those recordings are there any particular favorite albums that you've done over the years? >> Herb Ohta Jr.: You know what's funny? I never - no one has ever asked me that question. >> Stephen Winick: That is funny. >> Herb Ohta Jr.: That is very funny. I - I can tell you that there's - there's some songs - there's some albums that were very significant in my life. Of course my very first solo project because it was my first one. >> Stephen Winick: Yeah. >> Herb Ohta Jr.: And then my third project is when I really got into arranging. That's when I think I started to become my own person. In terms of arranging, so when people hear this. They would say "Oh yeah that's Herb", you know? And then my very last project I did a few years ago was celebrating my 30th anniversary. So - so three projects. I don't have a real favorite one. >> Stephen Winick: Yeah. >> Herb Ohta Jr.: But each project has a story, that's all I have to say. >> Stephen Winick: Okay. And a lot of them, or a fair number of them are duet projects where you're playing with one other person. So you have albums with a partner. How do those come about and how do you decide, you know what we do together needs to be an album? >> Herb Ohta Jr.: Oh, I've done duets with one, two, three, four. You know I don't remember, sorry. >> Stephen Winick: Yeah. >> Herb Ohta Jr.: But I think the feel of the music has to be somewhat similar. I can't just play with someone, and they have a different approach, and I have a different approach. Sometimes it's more - sometimes it works. But I think most times it doesn't. Well especially for me. So the people I've done duets with I have a love for the music that we did, and what we produced. I did a couple duets with my dad, but the reason why I did that is because I wanted to have something for me. That I did something with him. And the last - the one album I did with him I - we just recorded all his originals. >> Stephen Winick: That's great. >> Herb Ohta Jr.: Just as a tribute to him. So - but the other people that I've done duets with, they love Hawaiian music. So that's - that was the common bond there. And all I had to do was try and fit in my - my feel for the music that we were presenting to match theirs. >> Stephen Winick: Sure. >> Herb Ohta Jr.: Once you do that then everything else just falls into place. >> Stephen Winick: Well, so another aspect of our concert which was really nice was that you brought Jake in to play as well. So tell us - >> Herb Ohta Jr.: That up-and-coming ukulele artist? >> Stephen Winick: That's right. So tell us a little bit about Jake and how you came to know him, and how you came to invite him to be in your concert. >> Herb Ohta Jr.: Well Jake took a lesson from me when he was a teenager. Now we're talking about this, it makes me feel so old. And so we've known each other you know, when he turned professional we've already known each other. But you know it was more like a hi, bye. How you doing? Good. Take care. See you later kind of thing. Because once he started getting busy, and because I was traveling all the time too, we hardly ever saw each other. And then during the pandemic when we were all locked down in the first part of 2020, we - we got to know each other a lot better. And we - and he - I consider him to be one of my best friends now. ^M00:30:09 So when I asked him to be - to do a duet with me for this - this event then he just said, "Yeah no problem." So yeah we've been playing together for quite a bit now. During the pandemic we've done a lot of projects together. And you know, he's - one thing I can say about him if people don't know yet, is that he's very, very genuine. He's a very genuine person. And that comes through with his music. So yeah. Up and coming. I know I always tease him about that. >> Stephen Winick: He is a great artist for sure. >> Herb Ohta Jr.: Yes. >> Stephen Winick: And thanks for thinking to have him in the concert. Because it's just wonderful to see both of you together in that video. >> Herb Ohta Jr.: It was a lot of fun. >> Stephen Winick: Yeah. So you know one thing, way back when you were talking about your - your father's influence. You mentioned his first hit in the United States. His first recording that - and that brings up an interesting part of the whole Hawaiian music experience, which is the importance of Asia as a market and cultural influence on Hawaiian music. Because your father's music is also very popular in Asia. And so were a lot of other Hawaiian artists. >> Herb Ohta Jr.: Right. >> Stephen Winick: Talk about Asia as a place where Hawaiian music goes and happens if you could. >> Herb Ohta Jr.: Well hell, how should I start this off? Okay the hula, the dance, the traditional dance of Hawaii. Hula. There's over 700 hula groups in Japan. Over 700 hula groups in Japan, right? In Hawaii we call them Hila. Like music troop, right? Like a dance group. But there's like over 700 of them in Japan alone. It's growing in Korea. We have hula in Mexico. So I mean with hula comes Hawaiian music, right? And my father started you know, performing in Japan in the '60's. But he wasn't playing Hawaiian music. He was playing more jazz standards, you know? Like Stardust. And he was playing pieces like Malagania and - and - but when Hawaiian music was introduced - like Japan they love Hawaii. Right? And I mean who wouldn't? We're just spoiled here. But anyways in the interest in the hula started to grow. So Hawaiian music - the interest in Hawaiian music started to grow. And now Korea is - is at a point where Japan was probably 15 years ago. And in Korea it's only going to grow even bigger. And people in Europe are playing Hawaiian music. >> Stephen Winick: Yeah. >> Herb Ohta Jr.: It's amazing. I think a lot of Hawaiian musicians love to go to the Orient or Asia or anywhere because they have a strong appreciation for the ukulele, for Hawaiian music, for hula. And I think - and that goes for all musicians. You want to go places where they appreciate what you do. So, and during the pandemic it's kind of hard because a lot of Japanese people didn't - or people from the Orient haven't been coming here to Hawaii. And we are - and we're not able to go there as of yet. So everyone is waiting patiently. >> Stephen Winick: It will happen again. But that actually brings up another question, which is in general what the pandemic has meant for Hawaiian musicians and for you personally? >> Herb Ohta Jr.: Well we had a lot of family bonding. >> Stephen Winick: Yeah. >> Herb Ohta Jr.: Which is a - which is a positive thing. Because I used to travel quite a bit. So I'm glad that I - the positive things that came out of it was, I was able to be home and be with my family. My wife hasn't tossed me out yet, which is a good thing. But I think for us musicians here, it was difficult because a lot of things were just canceled. You know? So we looked to each other for support. You know, in terms of just talking and being around, you know online, on Zoom. Or anything. Anything online. Whether it's Zoom or stream yard or anything online. It was - it was supporting each other. The support that we had from each other is what is getting us through this. And - because we all have the same stories. Oh yeah, we had all these tours booked and it's all gone. Right? Or things like that, but I think it gave us a better appreciation of how special and lucky we are living here. And I think it brought us all back to earth, you know in a good way, in a good way. >> Stephen Winick: Yeah. Well that opens up another question which is the connection between Hawaii, the land and Hawaii music. And how - how is that expressed? How do you feel that connection to place in the music? >> Herb Ohta Jr.: Oh it's very strong in Hawaiian music. And you know remember when I was saying earlier about you know, people wrote about their time. Right? And there's songs about towns here in Hawaii, like small towns that people don't even really go to when people come here, you know from out of - out of state. And like there's this - for example there's a song called Ulupalakua. It's a - it's a Hawaiian Hula song. But it's a small town, off the slopes of - of the dormant volcano on the island of Maui called Haleakala. But tourists don't go there. But the song describes you know about the coolness of the air. You can smell a hint of ginger. You can see all the - the cowboys there riding on their horses, and you can see the cattle. And then you can see - on a clear day you can see a small island of Kohala. I mean but it - but that's connection with the Hawaiian music is that we write about places. We write about metaphors, like for example if a woman could be described as a flower in Hawaiian traditional music, in the lyrics. You know? So the - the connection of traditional Hawaiian music and the land and the town, or flowers, or waterfalls, or I mean there's strong connection. Strong, very strong connection. >> Stephen Winick: Great. And another thing that that just brought up was the question of the Hawaiian language. How is that expressed in the music as well? >> Herb Ohta Jr.: Oh like I said, I mean it's - it's - there's a lot of hidden meanings in Hawaiian lyrics, in songs. Like I said you know, like I mentioned a woman could be explained as a flower, a certain kind of flower. Waterfalls, like on the big island of Hawaii in a place called Waipi'o Valley. We have twin waterfalls. But that could be a man and a woman, right? So Hawaii lyrics, they call it - they call it kaona in Hawaiian. But as hidden meanings. Hawaiian music have a lot of hidden meanings in their lyrics. But they're very, how do I say it? It's beautiful in how they write Hawaiian lyrics. And because they're very - it's - the description is so descriptive. But you wouldn't know - I guess you would know if it was - if they were talking about a town. A man, a woman, or even children or yeah, Hawaiian lyrics - Hawaiian lyrics and Hawaiian music, how it gels together. ^M00:40:20 ^M00:40:24 It's - once you get a feel for it, there's no other feeling. It's - it's that special. >> Stephen Winick: Excellent. >> Herb Ohta Jr.: Yeah. >> Stephen Winick: All right. Well it's come to the point in the interview where I like to sometimes ask our guests what they would like to say. If you have a national audience at the Library of Congress, what do you want to tell people about your own music or your tradition, Hawaii? What's the most important thing? >> Herb Ohta Jr.: Okay. Hm, let me think about this. >> Stephen Winick: Yeah. >> Herb Ohta Jr.: You, know I just want to say - I just want to say thank you. For allowing me to be a part of this. I would like to wish everyone to be safe. And healthy and continue to move forward. But in terms of the ukulele and Hawaiian music or Hawaiian culture, there's so many Hawaiian's and Hawaii people that live on the mainland, or elsewhere in the world. And what we try to do is share our definition of the word Aloha. To me Aloha means love. To treat other people like how you want to be treated. Always more of a giving thing than receiving. But thank you for opening your world to Hawaiian culture, to Hawaiian music, to the ukulele, the Hawaiian steel guitar, the Hawaiian slack key guitar, the Hula. Because Hawaii is a special place, and we try to express that through our dance and music. And thank you for allowing us to share that with all of you. >> Stephen Winick: We want to thank you Herb Ohta Jr. for this interview and for the wonderful concert video. And for being part of that wonderful Hawaiian culture which we have tried to showcase in other ways over the years as well. So thank you so much for coming to this interview and for just being so great. Such a nice person too and such a wonderful musician. Thank you. >> Herb Ohta Jr.: I appreciate your kind words and I appreciate everyone involved. And thank you so much for having me. >> Stephen Winick: Thanks.