Issue 3

August 2nd, 2010

No Arms, No Legs – No Worries!

Nick Vujicic, who was born without arms or legs, shifts our perceptions of what it means to be happy.



Standing up for Nick is no simple feat. Simply because, 27 years ago, Nick was born with no arms and no legs. It’s a birth defect known as phocomelia and is what left doctors and Nick’s parents baffled in the delivery room. Despite ultrasounds at week 20 and 32, Nick’s parents were given no warning that their son was to be born without limbs.

Today the disability that once hindered him enables and affords Nick the opportunity to speak into the lives of thousands of people around the globe as a motivational speaker and evangelist. It’s estimated that one in ten people know who Nick is – that’s nearly 700 million people. His organization, Life Without Limbs, has taken him to 17 countries, including Egypt, Kuwait, South Korea, India and Colombia, where he shares his inspirational life story with some of the world’s most dejected and broken. He’s had the opportunity to address congresses around the world and presidents of nations. Later this year, he’ll speak to 135,000 people in Mexico City, in what will be his largest crowd to date.

Spend even a minute with the impassioned speaker, and his disability fades from view. He recounts a prank he once played on a passerby – his friends put him up in the overhead compartment of an airplane and closed the door, and he lay in wait for the next unsuspecting passenger – and he bursts out in laughter thinking of what came next, his blue eyes twinkling. I can’t help but laugh too. His features are ruggedly handsome, neatly-trimmed hair, a ruddy beard. But it’s his eyes that are what is most striking. They flicker with emotion and reflect pain and joy all at once: the pain he’s seen of the world around him, the joy that exudes from his heart.

His eyes grow serious when he talks of the brokenness he’s seen first hand. “There’s a lot of pain around the world,” he says. “Slums. Prostitution. Ten-year-old girls being kidnapped and sold to become sex slaves. What do you tell her? Have a positive attitude? … People always ask me, ‘Nick, why do you smile?’ Well, the joy of the Lord is my strength.”

The strength of Nick’s spirit, regardless of where it comes from, is undeniable. Nick is fully independent, able to dress, shave, shower, cook, brush his teeth, comb his hair, all on his own. He enjoys golfing, swimming, playing soccer, and he can type 43 words per minute on the computer. He has a double major in finance and accounting. And for a while, he was utterly determined to remain independent, but recently, because of his whirlwind schedule, he’s realized having a caretaker helps him to be more efficient, freeing up his time to do even more.

On average Nick has spoken 250 times per year for the last six years; in 2008 he spoke 330 times. He’s personally met and hugged 350,000 people. “Am I tired?” he asks. “Yes. But you know what? If I died today, I wouldn’t regret one bit of it. People are my passion. Sharing with them a message of hope is what I’m about. And if I can touch the life of just one person, I wouldn’t trade a thing. I wouldn’t trade having arms and legs.”

In 2007, Nick met a little boy named Daniel Martinez while speaking in Southern California, where Life Without Limbs is also headquartered. Nick says he’ll never forget meeting Daniel. “Altogether I’ve met 17 children, teens, young adults with no arms and no legs. Daniel, he was the first one. Now I’m going to be an older brother to that boy. When he gets teased and depressed, angry at God, I can look him in the eye and say, ‘Hey, everything is going to be OK.’

“I’ve seen miracles, you know. I’ve seen blind people see, deaf people hear, lame people walk – I have a pair of shoes in my closet, just in case God says ‘yes’ to me – but I know that when you don’t get a miracle, you get to be a miracle for someone else.”

Nick, the firstborn son of Serbian immigrants, Boris and Duska Vujicic, was born on December 4, 1982 in Melbourne, Australia. What was supposed to be a celebration of life, quickly turned into bewilderment and shock. “My dad was by my mum’s side,” Nick says of his birth, “and he saw my shoulder. He couldn’t believe what he saw. He saw no arm. And he got sick to the stomach and walked out. The nurses, they were crying. They didn’t know what to do. The doctor goes out to my dad, and my dad says, ‘My son – he has no arm.’ And the doctor says, ‘No, actually he has no arms or legs.’ And he just fell down.”

Nick’s birth was even harder for his mom. “The nurses put me next to my her, and she couldn’t – she didn’t want to touch me. She just said, ‘No I don’t want to see him.’ Shock. Tragedy. … They put me in the nursery, and my dad came to see me. He unwrapped the blankets, and he couldn’t believe it. But he went back to my mum, and he said, ‘He’s beautiful.’ Still, it took about four months for my parents to come to terms with my condition.”

Then it was Nick’s turn to question. At age 8, Nick told his mom that he wanted to commit suicide. At age 10, he actually tried. He crawled into the bathtub and turned over three times. “I just felt I was never going to live a normal life. If I was going to be a burden to my parents, I’d rather be dead. I’d rather relieve them of me, their greatest burden.” He turned over twice and thought he was doing a good thing. The third time, he envisioned his parents looking at his grave, and Nick realized he was going to leave them with a lot more pain. So, he “decided to stick around.”

Nick’s struggle with accepting himself and believing in the purpose for his life was just beginning. Between ages 8 and 12 he struggled with bouts of depressions. He describes those years as his lowest points. “For my dad, as a preacher to say, ‘God’s got a plan for all people,’ yet his son was born without limbs – that hurt me. Singing, ‘Jesus loves all the children, all the children of the world …’ and all the children at school have arms and legs, but not me – Why? I don’t feel it, I don’t see it, I don’t understand it.

“I knew that I needed God for more than just arms and legs, and when I prayed for arms and legs as a child and he didn’t give it to me? That was my anger toward God. And I didn’t want to talk to him until he explained himself to me.” And eventually he did, Nick says, through the Bible verse found in John 9, where a man was born blind, and “it was done so that the works of God could be shown through him.”

Nick says that moment changed his life: “Faith came over me, and I said, ‘God you have a plan for me. If you give me arms and legs I trust you, if you don’t give me arms and legs, I trust you.’” Nick realized he had two options: choose to be angry or be thankful for what he did have. And what he had was his “chicken drumstick,” as he calls it, a tiny foot with two toes. “I had no idea what I had until it went,” he says after spraining his foot playing soccer. “I golf, I fish, I swim, I write, I type – [when I sprained it] I had no idea how it could hinder my mobility.”

Nick’s first speaking engagement (if you could call it that) came in 1999 when he was in eleventh grade. He’d wait afterschool for his cab to pick him up, and soon he became friends with the school janitor. After three months of pestering from the janitor to share his story at a devotional group that met on Fridays, Nick finally agreed. In front of ten people Nick shared a little of his life. Immediately people started crying. Soon he was getting invitations to speak at local youth groups around Melbourne, and he even got invited to speak at a church in South Africa. Three days after returning from Africa, Nick spoke at a high school in front of 300 sophomores, his biggest crowd at the time. “My palms were sweaty, my knees were shaking … and half the girls started crying within three minutes of me speaking,” he says.

In the middle of his talk, he noticed a girl weeping uncontrollably. Slowly, she raised her hand. “Can I give up a hug?” he recalls her saying. “And in front of everybody, she hugged me and cried on my shoulder, and she whispered in my ear, ‘Thank you, thank you. No one’s ever told me that they loved me. No one’s ever told me that I’m beautiful.’ Changed my life.”

From that moment on, Nick knew he was called to be a speaker for the rest of his life. He went from zero speaking invitations to currently 29,000 people waiting for Nick to speak at their school, in their city, in their country.



Waiting for a table at a local sushi restaurant near Nick’s home, we are talking about Trader Joes and what I was asked to bring home upon my return to Hawai‘i. Nick’s gasping in astonishment at the amount of nuts my mom wants, when a man walks up to our bench.

“Excuse me,” he says, “Hi Nick. I met you a while ago at [one of the local churches] you spoke at. I know you must meet so many people …”

“Oh no, man, how you doin?” Nick says.

Immediately: “Not so good. My father just passed away.”

Without hesitation Nick says, “Can I give you a hug, man?” He embraces Nick, and Nick offers a prayer of hope and comfort. A weight it seems is immediately lifted.

Stories like this one are not uncommon for speaker. People all over the world seem to find comfort not only in the purpose and hope he speaks about, but also just by being in his presence. “Many people compare their suffering to my suffering,” Nick says. “Some seasons prolong, some pains never go away, and sometimes we feel like there is no hope, like we’re going to be here forever, but I’m here to tell you that we’re not.”

He goes on in an interview with Greg Laurie, a pastor of a church in Southern California: “There is no difference in pain. I know a 16-year-old girl who would gladly give up her arms and legs if something in her life would change. … There is only hope in the name of the Lord because only he gives us the strength to be more than conquerors. To know that my circumstance doesn’t need to change for me to be happy. You can’t argue with this smile, this joy in my eye. You see my real pain, and you see my real strength.”

Nick’s not quite sure what the future holds for him. Someday he hopes to find a wife, have children, and start a family. But he’s not there yet. For now, it seems he’s found contentment, pure joy, because of what he does, because he’s doing the thing that he believes in with all his heart, the thing that he’s most passionate about. One thing, though, that he knows for sure, and that’s visiting Hawaii again. He has, after all, caught the surf bug. He recounts another of his epic waves at Waikīkī that day: “After I stood up – “Bethany [Hamilton] was on my right, the beach was going wild – and I’m like, ‘What now?’ So while the board’s going, I actually do a turn, and I did it three times! Forty-eight hours later I ended up in Surfer magazine.”

How he’ll top that one? It’s hard to say, but knowing Nick, he’ll find a way.

TO FIND OUT MORE ABOUT NICK’S MINISTRY, VISIT WWW.LIFEWITHOUTLIMBS.ORG.

July 12th, 2010

Painted Highways, TOTALLY FULL Interview!

Editor’s Note: In our last issue, indie-rock band Painted Highways bumped heads with post-punk, electro rockers GRLFRNDS. This time, Painted Highways steps in front the mic, dishing on selling out, the local music scene and GRLFRNDS frontman Alex Kaiser’s hair.





GRLFRNDS: When are we gonna play more shows in Yougurtland and Burger King?
Mike: When?
Mark: When hell freezes over.
Mike: When Jack releases us from our contract, that tyrant.

GRLFRNDS: Was it tough selling out?
Mike: No, it was easy, cheap.

GRLFRNDS: On the real though I’ve had conversations with you, Mike, about labels and deals and stuff. Is this band gonna sell out, or are you gonna make the record yourselves?
Mike: Well, we’re gonna make the first record ourselves. If we got a good enough record deal we’d sell out. It’d have to be to our benefit. Something that makes mark happy.
GRLFRNDS: Mark, what’s gonna get you to sell out?
Mark: Freedom.

GRLFRNDS: Are you going to have help from Mountain Apple company? Are you going to be on a Mountain Apple imprint?
Mike: No. They’ll probably help us record, though. Probably not like contracts or money involved, just the buddy system.

GRLFRNDS: Why is that? Where is the line in the sand that separates Painted Highways from the Mountain Apple Company?
Mike: Uhh… I dunno…I’ve never entertained getting signed to where I work. So, maybe it’d be a conflict of interests or it might be too close to home. Or maybe we’re not Hawaiian music and that’s kinda their bread and butter. Errr, our bread and butter.

GRLFRNDS: When are you gonna do more Hawaiian music?
Mike: When Willie K. gets back to us.

GRLFRNDS: I guess that’s the question for all Hawai’i bands: How come Hawaiian bands do just fine and other bands, we’re just fighting over scraps?
Mark: If you just look at the simple macroeconomics 202 of your supply versus demand. Jawaiian versus crying lions.

GRLFRNDS: Fucking reggae. That’s all you need to say.
Mike: The line in the sand is reggae.
Mark: There is an evolving… greatening market here and certain elements shall therefore thus present themselves. Tthere’s just different pedagogical pragmatics involved in such, undergoing, a multitude of events, thus therefore creating, and lying there… exactly.

GRLFRNDS: Exactly. I can’t wait to spell check that. But you made a good point at the start, at least. That there is a market, and for our bands like ours, that the market is growing… I heard you played Cinco de Mayo – you had some groupie action. You wanna tell me about that? Kai, I’m looking at you…
Kai: I have no idea what you’re talking about.
Mike: Mark touched a boob and that was about it. Just girls making eyes at us cause girls don’t realize we’re 30 and over.
Kai: A guy bought me a beer.
Mike: There were male groupies and we sucked their bottles.

GRLFRNDS: I think when it comes down to it more guys have bought me beers than girls. Girls don’t buy you beers. Guys are like, “good show”. I hope it’s not a gay thing… but i might be a flirt.
Mark and Mike: You definitely are.
Mark: Alex, your hair has so much volume. Damn.
Kai: What are you using Pantene?

GRLFRNDS: My hair has done a lot of things in the past year. It’s been to a lot of Painted Highways shows. Can you see my hair from the audience when you play?
Mike: Of course. We can smell your hair from the audience. Pantene travels far.
Mark: I can smell that V05 hot oil.

GRLFRNDS: Is my hair a good barometer? Can you tell whether or not you’re playing a good show from my hair?
Mike: Usually it depends on how it’s whipped. If it’s whipped to the right, we need to step it up. If it’s whipped to the left, we’re OK. If it’s all over the place, then we’ve done our job. We played well based on Alex Kaiser’s hair.

GRLFRNDS: Ideally I think my hair is happy when it’s like Justin Bieber’s.
Mike: I agree. Blow dried.

GRLFRNDS: Should we get more serious? At the beginning, Mark, you played a lot on a big electric piano; you still have the microKORG synthesizer. Your guitar sound is probably one of the most defining things about your band, but how do you guys feel about synths?
Mike: We’ve always wanted a fifth person to do that because it’s hard for Kai to step away from the bass. It’d be smarter, since we both have guitars, for somebody to fucking put the guitar down and play the synths. We have two microKORGs. The only reason we don’t have the piano is because of laziness – that thing weighs 200 pounds. We would write a lot more if we had NORD keyboards or something that’s light. Unfortunately it’s just this huge piano. We’d love to incorporate synths because all of us here could see a lot of synth parts in our songs.

GRLFRNDS: I was very happy when we started playing shows together. We both had the microKORG so I knew we were in good company.
Mark: We actually have 2 microKORGs!

GRLFRNDS: Fuck you guys!

GRLFRNDS: We’ve never figured out a way to really work the NORD into the set. On some songs it sounds really good and other songs we just don’t use it. With synths it’s hard to find the right tone. The microKORG doesn’t have a piano tone. But that big piano you used to fucking lug around did have a nice piano tone and I think that works for your sound, sorta American rock.
Mark: I think you’ll probably see a bit more organic sounds coming out of us soon too. More harmonies, some acoustic guitars, drum circles, Carlos Santana, cowbells, moonshine jugs, a lot of tomfoolery and ballyhoo.

GRLFRNDS: Ballyhoo, Bally Total Fitness, bro. Living in Hawai‘i, where there isn’t really an indie rock scene, how does that affect what your band will sound like?
Mark: There’s a lot of different pedagogical pragmatics involved in the writing process, but I don’t personally do it for hot dogs or squirrels or anything. I mainly just write stuff from the heart. Feel it. Feel that freedom. But I think it’s a small market that enjoys that kind of music. Most people just want something to dance to and we’re not really that. Hopefully there’s a greater growing audience of people who go outside of the bubble and start widening their music spectrum and feel freed.
Mike: The market is bigger than Hawai‘i. I don’t know if Modest Mouse or Joy Division got together and said let’s make music this town will like. Or if they were like, “Let’s make music we want to make and hopefully, somebody will like it.” That’s how we’ve approached it. As we’ve gotten to know each other and played longer, our songs have melded to become the Painted Highways’ sound instead of Mark’s song or Kai’s song or Mike’s song. I just spoke about myself in the third person.



GRLFRNDS: “Painted Highways” is a beautiful visual idea in and of itself. I gotta commend you guys on that. I’d like to find out what are some of your contemporary and classical influences? Because I hear a very classic American-indie-rock sound, whatever that is.
Mark: Current influences on us? That’s tough…

GRLFRNDS: Nobody is making good stuff anymore.
Mark: Diana ross put a good album out recently.

GRLFRNDS: So what’s a classical influence?
Mark: Bruce Springsteen, Skip James, Freedom, so much stuff that blows your hair back. Current influences of course are Radiohead, TV on the Radio.
Mike: TV on the Radiohead? That’d be a sick mash up.
Mark: Arcade Fire, I been a big fan. Arcade Fire. Bruce Springsteen just makes me wanna blast and smash your hand through a pain of glass and down your pants.

GRLFRNDS: When you sing, you have a very guttural howl that makes me want to break glass. Mike you have a very pretty voice, is that something you plan? To have the different dynamic because you have two singers?
Mark: No, but we definitely want to start combining that. Also if you hear Kai sing, he sounds just like Sonny Bono.

GRLFRNDS: That’s before my time. I don’t even know what he sounds like.
Mike: Like a shitty Bob Dylan.

GRLFRNDS: …Maybe like hitting a pine tree at 50 mph.
All: Awwww….
Mike: Dude, too soon.

GRLFRNDS: Are you for real gonna do like three, four-part harmonies?
Mike: I dunno. Are we down?
Kai: Yeah I’m down.
Mike: It’s not that we play a ton of gigs, but we focus too much on rehearsing our songs for gigs.
Mark: And we drink too much
Mike: That happens, but now we’re actually trying to figure out the details of the songs. Instead of playing shows and not worry how we sound because nobody is really paying any attention.

GRLFRNDS: Well if the shows are any benchmark, the album is going to sound awesome. I know you’re very ambitious about it. You are one of my favorite local bands, if not my favorite local band. Definitely my favorite dudes. Do we have any last words?
Mark: When does the interview begin?


For information on the bands check out:
www.paintedhighways.com
www.myspace.com/grlfrnds

July 3rd, 2010

Rewriting Hip-Hop

One Filipino-American emcee is articulating a different message of hip-hop, using it as a vehicle to organize and mobilize his communities for social change.

“We’re not against rap. We’re not against rappers. But we are against those thugs …” Those were the words uttered by Reverend Calvin Butts and immortalized by rappers Bone Thugs-N-Harmony in their debut-hit single, “Thuggish Ruggish Bone.” Butts, in 1993, led a campaign against what he called “vile, ugly, low, abusive and rough music,” notoriously declaring to crush rap CDs by steamrolling them to smithereens in symbolic protest. Today, Al Sharpton shouts for the the censorship of rap music, while Lil Wayne and T.I. are hauled off to jail. The perception of hip-hop today hasn’t changed much. And aptly so, given the the music’s frequent glamorization of drugs, crime and misogyny. One Filipino-American emcee, however, is articulating a different message, using that oft-damned music as a vehicle to organize and mobilize his communities for social change.


“My friends say I turn into kind of an asshole before a show.” 

Five minutes before he takes the stage, I’m sitting in a smoky green room at the legendary Slims Club in San Francisco with Filipino-American hip-hop artist Bambu, known for his political and controversial rhymes that comment on everything from the policies of Philippines’ President Gloria Macapagal-Arroyo to redefining the American standard of beauty (“especially when she’s been told her beauty’s second to the white/now it’s white women/collagen/fake lips/fake tits/now we overlook a sister because a white girl’s thick?!”).

The rapper sits quietly in the austere backstage area, empty except for a few backpacks and a bucket of Coronas, and of course the gaggle of friends – his posse – buzzing around aimlessly and wandering in and out. There’s his onstage deejay, Chinese-American DJ Phatrick, emcee Kiwi Illafonte of their former group Native Guns and a handful of chicks in torn fishnets who look like Asian versions of Rihanna. 

Like most people with a convoluted and biography-worthy history, the artist has picked up a few aliases along the way. “Bambu” is derived from his days battling in a group called Bamboo Brigade, “Buck Taylor” comes from his penchant for Chuck Taylor’s and Jonah is simply for those who know him best. But with a story that includes domestic violence between his immigrant parents, witnessing the point-blank murder of his cousin Frankie (who lives on as “Frankenstein” in his raps), a bout of homelessness as a young teenager, and a stint in prison for armed robbery, you’d think the 32-year-old has already lived nine lives.




If that last series of events reminds you of something you’ve heard about rappers on MTV, the similarities probably end there. Sitting down with the artist outside a coffee shop in LA a few weeks after his performance at Slims, Bambu is amazingly thoughtful, articulate and well-informed, and even a bit of a romantic. A “conscious” rapper, his music is not meant merely to create head-bobbing entertainment for the masses and increase the digits on his bank statements. Instead, his lyrics are designed to resonate with oppressed ethnic communities and elicit change through the organization of its members.

“People expect me to say that hip-hop is going to change the world,” the artist says. “And the first thing I’d say is, ‘Fuck hip-hop.’ There are bigger issues at hand. There are so many other things we could be focusing on and you want to worry about the so-called four elements of hip-hop? At that point it turns into art for art’s sake and loses its meaning. Art should reflect society, reality.” 

And throughout his career, his music has done just that, beginning with his own. As a homeless teenager in Watts, the rapper fell in love with a black girl who he would eventually marry. Her family took him in off the streets and it was the girl’s father who first encouraged Bambu to seek out his cultural identity.

“Being young, the militant black struggle was so cool and I was like, ‘Do I have one of those?’ And eventually I found the [ethnic community] through African culture, through hip-hop and through the martial arts,” he explains.

The marriage didn’t last, but the lessons he learned from his black father figure had. While serving for more than six years as an infantry soldier and later as a medic in the Marine Corps in Kosovo, Yemen and Okinawa, he continued to read about his Asian roots, refined his production and rap techniques with fellow soldiers during their time off, and developed his own voice, which the rapper says can be heard on his first album with Kiwi and DJ Phatrick as part of The Native Guns.

One of Bambu’s most well-known concept videos, created by Kid Heroes Productions and Xylophone Films for his song “Crooks and Rooks,” is hugely autobiographical. It depicts a young Jonah delivering drugs for his gang, carried in a tennis ball lodged within the spokes of his bike. Later we see the adult artist driving young Filipino kids to school. “I never made it to the next level of the gang, of that world,” he says. “I stayed there as delivery boy and then transitioned from transporting something that destroys the community to transporting something that enriches it.”



In his upcoming video for “Old Man Raps,” Bambu explores the fears he harbors for his son, now 2 years old. “The fantasy narrative is about me with my son in a hypothetical future where he grows up and follows in my footsteps, because I’m such a strict dad trying so hard to keep him out of that life,” he says.

While he draws on experiences from his own life and community’s struggles, Bambu acknowledges that others in the industry preach a different message. He thinks the perception of hip-hop has become skewed, and has lost its original purpose of voicing the concerns of an oppressed community.

“Now we glorify and romanticize things in the community like drug dealing,” he says. “One unfortunate thing about hip-hop today is that it makes us look like animals. We’re throwing money at women and beating the shit out of them, shooting guns at each other. We look like monkeys. It’s fucked up to see, especially coming from the community.”

And though he’s from LA, he’s referring to a larger sense of community that spans the United States. Earlier this year the artist played to a sold out audience at Next Door in Honolulu’s Chinatown. “Before I went to Hawai‘i I did a lot of studying about Hawaiian sovereignty issues and incorporated that into my show. I wanted to get the message across that your struggles are the same as my struggles,” he said. He even spoke at workshops at the Ethics Department of the University of Hawai‘i, a school that he says he would consider attending, on the importance of youth organization and involvement. 

He doesn’t just talk about organizing. Back in California, Bambu is a longtime leader of the Kabataang Maka-Bayan Pro-People Youth, a progressive youth and student organization, whose aim is to “raise the social consciousness of the youth to organize and mobilize in response to issues affecting our local communities, the oppressed people of the Philippines and other pro-people issues around the world.” An organizer for Peoples Corps, he also teaches a program called “Ready, Aim, Speak” at Locke High School in Watts.

To the upset of his fans, Bambu has decided it’s nearly time to leave the music world. Though he says he’ll continue to “leak music to the Internet,” the artist will release only one more full-length album, a collaboration with Sabzi, the producer for both Common Market and Blue Scholars. While his album titles to date have been framed with an ellipsis on either side, the title of his final album will tellingly end with a period. He will continue his work with the community of course, and is planning to open a martial arts and community center.

He says, “At the end of the day I really want people to organize. I think that what I do through the subculture of hip-hop is just raise awareness. And that never really creates real change. I think artists fool themselves when they say they just want to create positive music. It might create the climate for some kind of change. But until you actually go out and organize, that awareness is wasted. I would love for people to go out and study for themselves. That’s the whole point of my music – for people to take the next step.”

Bambu “Crooks & Rooks” Music Video (Uncensored Short Film Version directed by Patricio Ginelsa) from Kid Heroes on Vimeo.

Bambu will join PNOY Apparel November 12 at Fresh Cafe to help put a shirt on poverty. With live performances by Bambu, Geo of Blue Scholars, Seph1, Mic3 and Creed Chameleon. For more information click HERE.

July 2nd, 2010

Our Pets Are Still Animals, Right?

Have we all lost our minds and gone to the dogs? We examine the shifting perceptions parents have toward their furry children.

My little dog Piko really can’t help but to be naughty. I think it’s in his DNA. Some days I catch him in the act. He stares at me wide-eyed, like a deer. He’s standing in the middle of the kitchen table, a mess of empty wrappers and half-eaten chicken chewys around his paws. “NO! Naugh-ty!” He does a little hippity-hop, like a bunny rabbit, and scampers off. He’s fond of peeing on people, cabinet corners and kitchen garbage cans. (He even peed on our photographer’s flash during our photo shoot.) He’s capable of opening refrigerator doors and pushing chairs with his paws to reach out-of-reach places (like the kitchen table).

Despite all of his naughtiness, Piko, as the name on his medicine bottle implies (“Piko Yamada”), is part of the family. He has a mom, a grandpa and grandma, and two Lhasa Apso cousins, whose dad is my brother. As much as I hate to say it, we’ve become those people. Those people that dress their dogs, tote them around in Juicy and push them through malls in strollers. We, like an increasing amount of people, contribute to the ballooning $45 billion industry with every designer shampoo and organic doggie biscuit that we buy. Despite lagging sales for virtually every other retail sector, the pet industry saw a 5.4 percent increase last year.

In recent years, there has been a shifting in the attitudes people have toward their pets, and of their dogs in particular. Our furry four-legged friends have become, as Michael Schaffer in his book One Nation Under Dog calls them, “junior humans” or “fur babies.” They’ve taken the place of children for empty nesters, prepped newlyweds for the pains and joys of raising real human babies someday, and in some cases they’ve become the children for those who have no other option.

“Children will go on and lead their own lives, but pets don’t have any world beyond the one that you create for them,” says veterinarian Joy Lynn Yasuda-Tanigawa, hypothesizing the reason for the close relationship people have with their pets. “You will always be their world.” Yasuda-Tanigawa works at the VCA Family Animal Hospital in Pearl City, only one of two 24-hour emergency hospitals on the island. As a vet, she’s seen, in plain dollars and cents, the shift in people’s perceptions of their pets. “When I was little, our dad would never pay for the kinds of things that people are doing now,” like the CT scan she’s to follow up with after our interview. The procedure, which is done afterhours at Queen’s Medical Center – yes, the hospital for humans – can easily run upwards of $1,000.

When Mushu, our 15-year-old Japanese Spitz, got sick last year, we took him in to VCA, and immediately dropped $800 for an exam and X-ray. His stomach lining was connected to his heart sac and would require extensive surgery, costing about $5,000. Although he had already lived a good long life, and he probably wouldn’t see too many more, we seriously considered the surgery. Some family members opposed, but others reasoned, well he’s a part of the family and you don’t just put family members to sleep. Graciously, Mushu crossed the Rainbow Bridge later that night, going into cardiac arrest and eventually heart failure, thus sparing us the decision of whether to do the surgery or not. Total cost of Mushu’s bill: $1,400.

Yasuda-Tanigawa says it’s not uncommon for pet owners to drop big money on their pets. The most she’s seen an owner spend? Seventeen thousand dollars. “And the dog ended up dying. It had pancreatitis and it was in the hospital for weeks,” she says. The second most she’s seen an owner spend was $15,000. Explains why the veterinarian profession has seen an explosion in specialties, from dermatology to oncology to radiology to ophthalmology to cardiology – wait, we are still talking about animals, right?

Pets will always be doted on so long as there are humans around. In fact a recent study by American Pet Products Association found that American pet owners would readily perform an act of self-sacrifice, reallocating their dollars to maintain the quality of life for their pet. And really no dog knows this better than Piko. Whenever Piko’s grandpa comes home, he’s just as excited to see Piko as Piko is to see his grandpa. “Heeeey palsie! Did you see your friends today?” he asks, referring to Piko’s daily walks. “Did they say ‘roof’ or ‘ruff’? They all have ‘ruff’ life, but not like you, yeah, Piko?” He immediately opens the fridge and throws Piko a bite-sized piece of New York steak. Us humans have gone to the dogs. But really, there’s no harm in that.

To see the full article, purchase our Fall 2010 PERCEPTION issue HERE.

June 29th, 2010

A Brief Encounter

Kate Ruggiero’s line of underwear is cute enough to be worn in public. Or on the beach, at least.

Hand-sewn in Hawai‘i using soft, stretchy cotton jersey, Gypsy hits in all the right places, sitting low across the hip like a Brazilian, but providing just enough coverage in the rear. So girls can kiss the pinching panty line goodbye! The days of the awkwardly uncomfortable wedgie are over. The barely-there panty is the perfect fit, and it evokes that toes-in-the-sand, waves-lapping-at-your ankles sort of feel.

Kate wanted her collection to evoke the carefree spirit she embodied herself. Before she came to Hawai‘i, Kate had been working for a fashion photographer in New York, but it had always been her dream to live by the ocean and design her own collection of swimwear. Overwhelmed by the bustle of the big city, Kate felt it time to uproot and that if she didn’t move at that moment, she wouldn’t ever. So, at the bewilderment of her family and friends, the bright-eyed, freckled free-spirit hopped on a plane bound for Honolulu, full of smiles all the way there. “Moving to Hawai‘i I felt like a traveling gypsy, so my line is really about being free-spirited and following your heart,” she says, explaining why she settled on the name Gypsy. “Plus, it’s my favorite Fleetwood Mac song.”

Always the dreamer, Kate hopes one day to open up a lingerie boutique that would carry a select line of her intimates, as well as swim and sleepwear, and it seems Hawai‘i is just the place for that. “Hawai‘i is still evolving, as far as fashion and art, and that actually is a really good thing,” she says. “It’s what allowed me to start my own collection. In New York, it’s so intimidating I would’ve never thought about starting something of my own. People here are open, to knowing about new designers and trying them out. I definitely see there’s a community here, and that’s a positive thing.”

Gypsy Hawaii from Daeja Fallas on Vimeo.

GYPSY LINGERIE IS AVAILABLE ON O‘AHU AT OLIVE BOUTIQUE IN KAILUA, ON MAUI AT PINK BY NATURE IN MAKAWAO, AND ONLINE AT WWW.MADEBYGYPSY.COM

To see the full article, check out our “Perception” issue, on stands July 11.