BEACHCOMBER (LEILOW x FITTED)

Thursday, December 16th, 2010 by FITTED

Releasing Monday, Dec. 20th

A few months after Hawai’i gained statehood in 1959, the politicians of our newly established nation compared our burgeoning city of Honolulu with other, well established major cities and grew a little self-conscious. Realizing the sentiments that our state was behind the curve of expansion and development sparked a fire to build up Honolulu and Waikiki, despite many citizen’s opinions that the beauty of our island would vanish. New commercial remodeling brought a steady income of lucrative finances which helped stimulate our lacking economy.

Shortly after WWII the United States was introduced to more “open skies” and saw an increase in Americans traveling abroad. With a dominating economy came larger commercial airlines which eventually led to cheaper prices traveling by air. These drop in prices led to more affordable airfare for middle-class Americans. In due course, mass travel came to tower over Hawai’i's economy, with promises of inexpensive priced hotel rooms in fast-growing Waikiki. With the assistance of the über-popular television series Hawai’i 5-0 and aggressive marketing and advertising by our wonderful Hawai’i Visitors Bureau, our ‘aina became one of the number one destinations for travelers, vacationers and business-men alike. By the ’60s, Hawai’i saw more than one million visitors annually.

The number in visitors increased exponentially as more and more tourists discovered there was so much to be done under the Sun on this 44 mile long, 30 mile wide beautiful island in the middle of the Pacific. The activities that were to be discovered were endless; hiking natural trails, surfing, scuba diving in clear, pristine waters, the beauty of our organic surroundings; not to mention the expansion of pre-Facebook social networks in Waikiki, which included The Beachcomber, the International Marketplace, Dukes and newly constructed five-star, luxury hotels. All of this economic growth, coupled with that same instilled Aloha spirit that was not taken away when our independence was, only further escalated the amount of annual visitors. Over the last few years (2006 – 2007) and before the unfortunate current economic decline, Hawai’i saw as much as 7.6 million visitors to our islands.

This leads us to our latest collaboration, where we’ve aligned ourselves with Leilow. Jules Gayton, Leilow’s proprietor, can definitely relate to the desire to travel to the islands, where he has now resided for over eight years. Starting from a simple fascination of paradise and searching and surfing the perfect wave, it has now become a realized reality for Jules. From being an original member of the Stussy Tribe in the 80s, to spinning at some of the greatest clubs in New York City, befriending many legendary musicians and artists, there’s an excellent reason why Jules has been dubbed a triple O.G.. These days, you can catch Jules enjoying his new home, rocking out to the rootsy sounds of reggae and dropping constant knowledge at Leilow.

The details: The Beachcomber pack features our collective Beachcomber New Era, a fusion of Jules’ bugged out artistic visions with FITTED’s more traditional methods, all with a modern approach. The cap features a print of black and white woven patterns with gray tones, while the inside features a silk lining of a map of the Hawaiian Islands which invokes a nostalgic warmth, citing the days of Don Ho, the Beachcomber and the lounge music era; incorporating both Leilow and FITTED’s logos. The underside of the visor features an embroidered hula girl, just an added extra touch that separates us from the rest. Coinciding with the cap is a white t-shirt with the same print found on the inside of the cap on the back, and the same hula girl on the front. To finish off this exquisite pack, we have a sticker sheet which integrates the map graphic.

PUUKOHOLA

Tuesday, December 14th, 2010 by FITTED

Releasing tomorrow, Wed. Dec. 15th online and in-stores. The release is limited to 40 pieces for the jerseys and 50 caps

It’s been 200 years since Kamehameha unified the Hawaiian Islands. A few months ago, Puukohola National Historic Site celebrated the bicentennial anniversary with a chicken-skin-inducing ceremony on Hawaii Island– the birthplace of Kamehameha aka Paiea. Puukohola heiau (temple) was widely believed to empower Kamehameha with the necessary mana (spiritual energy/currency) to unify Hawaii. Kamehameha ordered the construction of Puukohola heiau and dedicated it to Ku– the god of war amongst other things and one of the four major Akua (gods) in ancient Hawaii. Today, the heiau still stands in Kawaihae as evidence of ancient Hawaiian ingenuity and culture, but more importantly Puukohola is a testament to the greatness of Kamehameha.

To commemorate Kamehameha’s historical achievement Fitted and Paiea Projects collaborated on a limited edition Hawaiian Throwback jersey and a matching Kamehameha New Era 59Fifty. This jersey is a tribute to the bicentennial anniversary of the hookuikahi (unification) of the Hawaiian Islands by Kamehameha the Great in 1810.

Kamehameha’s birth name is Paiea, and is proudly displayed on the Hawaiian Throwback. The jersey sports the #91 to commemorate the completion of Puukohola Heiau in 1791. The text throughout the jersey contains no diacritics (okina/kahako), just as it was printed in the old newspapers of Hawaii. The colorway of the jersey was inspired by the Chicago Bulls. Just like Michael “Air” Jordan and the Bulls ruled the NBA for years, so did Paiea and the Kamehameha dynasty run Hawaii for nearly a century. The matching Kamehameha hat is black with a white logo and red stitching.

The jerseys are limited, ranging in sizes from small to 3XL for the big bruddahs. The Fitted x Paiea Projects Hawaiian Throwback Pack is dropping on December 15 at Fitted. Judging by the preliminary public response to the jersey and hats this limited edition pack will probably sell out immediately.

Paiea Projects designed the Hawaiian Throwback Pack to make a product relevant in today’s society, while giving respect to the olden days of the Hawaiian monarchy. Paiea Projects is a web and graphic design company specializing in modern media- digital photography, viral marketing and social networking. The name “Paiea”refers to the birth name of Kamehameha, and the owners’ alma mater, the Kamehameha Schools. “Projects” refers to their diverse work and various design endeavors.

HONOULIULI: HAWAII’S HIDDEN JAPANESE INTERNMENT CAMP

Wednesday, November 24th, 2010 by Justice Equality Supreme

This really hits close to home (pun intended) and I’m definitely looking forward to seeing the full length version of this documentary. I have a vague memory of Mom Dukes telling me that my Grandfather was actually thrown in one of the internment camps scattered across the island, but whether it was because I was too young and naive or just didn’t care at the time, it never really struck me as important. As I grew older and started on the path seeking knowledge of self, it re-sparked my interest to know the story behind this atrocious attack on us Japanese Americans; a peaceful, civilized, highly-intelligent and humble society. With the recent passing of my Grandmother and while browsing through archives of documents (we were looking for her birth certificate), I came across one interesting piece: a brochure (dated from the early 80s) which, upon reading, I found out was a census of sorts trying to locate those Japanese Americans who were gathered up and imprisoned in these “internment camps” prisons. From what I understand, the United States was attempting to reach out to those who were detained (and discriminated-against) in these camps to give them reparations. I actually plan to go digging in Bishop Museum’s archives to see what I can find regarding this historical travesty, and for those who are interested, the Hawai’i Japanese Cultural Center will be holding a pilgrimage of sorts out to Honouliuli sometime in February of 2011, where they will be screening a longer version of this documentary. At the moment of writing (and after speaking to Brian over at the Hawai’i Japanese Cultural Center), the full length documentary is currently in production and will be out sooner or later.

To think that this happened in the late 40s, early 50s – you would think the United Snakes of America would have learned from their wrong-doings and discriminating and stereo-typing of minorities. But as we all know, there is a similar form of discrimination and subliminal racism that still hovers at the surface, considering the attacks on Muslims in New York and their requests of building a mosque near Ground Zero. This is just an updated version of the same xenophobia that was practiced in 1943.

HOW TO SAMPLE A JAZZ RECORD AND NOT SPOIL IT: JACK BRUCE – BORN TO BE BLUE

Thursday, October 14th, 2010 by Justice Equality Supreme

Sampling in Hip-Hop has gone through many various growth phases ever since the advent of the earliest Hip-Hop sampling / production hardware, the E-mu SP-12, made it’s debut on the scene in the mid 80s. (Side note: The Roland TR-808 drum machine did predate the SP-12, but it’s not considered a true sampler, along the lines of the SP-1200, Akai MPC models or the ASR-10). Although extremely limited on the duration of how long the SP-12 could sample – maximum sampling time was a mere 2.5 seconds – it was an appurtenance in any producer’s sparsely-equipped studio. In 1987, E-mu followed up their groundbreaking SP-12 with the arrival of the celebrated SP-1200, which extended the length of sampling time from 2.5 seconds to 10 seconds. Still immature in today’s standards, but allowed just enough time to loop drum breaks.

Fast forward a few years to the early 90s, when AKAI released their first MPC model, the MPC60. The MPC60 was regulated to 12 seconds, still very minimal. 1994 saw the release of the upgraded MPC3000 – the same year that is revered as the genesis of the Golden Era of Hip-Hop. The 3000 allowed up to a whopping 22 seconds of sampling time. Over the next few years, Akai released their 2000 and 2000XL models. As time progressed, the MPC ended up in the possession of countless pioneering producers, including Marley Marl, Digging In The Crates crew, RZA, DJ Premier, Evil Dee and the Bomb Squad (Public Enemy). The maturation in technology and progressive thought on music itself further enlightened these producers on what could actually be done with the countless jazz, funk, soul, rock, blues and reggae records that they possessed in their crates. The horizons were truly infinite, and this was demonstrated by some of the most complex production to be unleashed. Most music literalists will create the argument that sampling is uninspiring and unoriginal, while most Hip-Hop purists – myself included – are nauseated with such statements. Sampling is simply taking what very little one has and creating something that is exceptionally contrasting.

That’s a concise narrative of how far sampling has come in Hip-Hop culture. However, the protagonists in this post are Jack Bruce, his influential recording, Things We Like and the tracks that it eventually spawned by way of sampling. Jack Bruce, respected as one of the founding members of “the British psychedelic rock power trio, Cream,” released his sophomore solo LP, Things We Like and was a complete polar shift in musical terms of what he and Cream were known for. Recruiting English saxophonist Dick Heckstall-Smith, Things We Like incorporated a bee-bop and free jazz ambience and a prime example of this is the heavily sampled Born To Be Blue. Below are eight different, classic Hip-Hop records which utilized bits and pieces of Born To Be Blue and displays the creativity in how each record flipped the aforementioned sample.

Jack Bruce – Born To Be Blue (1970)

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Smif-N-Wessun – Bucktown (prod. Da Beatminerz)

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Nice & Smooth – Blunts (prod. Showbiz) [Same use of Dick Heckstall-Smith's sax as used on Bucktown, different drum break and bassline]

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Showbiz & A.G. – Hold Ya Head (prod. Showbiz) [Shows Biz's (no pun intended) versatility, as he flipped it entirely different from the track above]

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Diamond D – Sally Got A One Track Mind (prod. Diamond)

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Artifacts – Wrong Side of Da Tracks (prod. T-Ray)

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Lords of the Underground – Chief Rocka (prod. K-Def) [K-Def sampling this same record is what created tension between the Lords and DITC, mainly Showbiz. "Fake Lords get strangled with mic cords // Taking beats from my LP sure ain't healthy..." Why? Because it's widely known that Showbiz is the "first person" to find Things We Like. Whatever]

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Cella Dwellas – Land of the Lost (prod. Lord Digga)

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The Wiseguys – We Be the Crew… [One of my favorite flips of Born To Be Blue. Hands down. Now put 'em up]

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SKATE DAZE

Friday, August 28th, 2009 by FITTED

Releasing tomorrow, August 29th.

skate-blog

skate-blog2

Over 25 years of Skateboarding history is included in this collection of stickers. These stickers range from classic collectibles to island companies that supported the early skateboarding years here on the islands. Every one of these stickers were free, somehow acquired from a traveling pro at a demo, contest sticker toss, friends who were sponsored by various companies, raiding company warehouses, sponsorship packages, or stolen from skate shops. These are the real deal and the contemporary skate art will never compare. There aren’t many brands whose graphics haven’t been influenced or straight up bit completely from classic skateboard art. (Present company included) Take a close look and spot some of your favorites.

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A GLIMPSE INTO HISTORY THROUGH A FACADE

Tuesday, June 30th, 2009 by Justice Equality Supreme

This post is dedicated to those of you who are interested in history, science as well as architecture. June 20th, 2009. Athens, Greece. An epoch-making exhibition / installation was opened, rightfully christened The Acropolis Museum. The museum features over 14,000 square meters (150,000 square feet) of exhibition show space and is located just South East of the historical “Parthenon.” The museum itself rests on the slopes of the Acropolis; some rooms actually hover above archeological excavations with glass floors. The area surrounding the new installation is already saturated in history and antiquity, what the Acropolis does is magnify the many Archaic findings and brings it’s authenticity more toward the visual surface. The second floor focuses attention on ancient anachronistic statues, including a sculpture of Alexander The Great’s head and five findings of Caryatid. Head over to their website for more information and photos.

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THE HISTORY OF POLYNESIAN TATTOOS

Thursday, May 28th, 2009 by Justice Equality Supreme

Read it & learn or go home!

KULEANA: HAWAII’S STORY BY HAWAII’S QUEEN

Thursday, May 14th, 2009 by Kaboe

Kuleana. (Native Hawaiian) nvt. right, privilege, concern, responsibility, title, business, property, estate, portion, jurisdiction, authority, liability, interest, claim, ownership, tenure, affair, province; reason, cause, function, justification.

liliuokalani_b

Since the beginning we have always tried our best to spread Aloha and help educate the masses about the history of Hawai’i. This is our KULEANA.
Now that we have our new website we will be using the Aloha Served Daily Blog as another vessel to teach and share with you things that we think our important.

Having said that, here is a book that Queen Liliuokalani wrote entitled Hawaii’s Story by Hawaii’s Queen. The Hawaiian kingdom’s last monarch wrote her biography in 1897, the year before the annexation of the Hawaiian Islands by the United States. Her story covers six decades of island history told from the viewpoint of a major historical figure.

Click here to read online Hawaii’s Story by Hawaii’s Queen

Click here to download the PDF File Hawaii’s Story by Hawaii’s Queen

Mahalo-