WHEN I SAW HERBERT, HE JUST LOVES PLAYING HIS UKULELE.

AND THAT'S HOW I STARTED.

I LOVED THE UKULELE, AND I SAW SOMEONE DOING THE SAME THING, YOU KNOW.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ I HAD TO PLAY THE ACCORDION FOR COUPLE OF YEARS.

I HAD TO GO TO BERGSTROM'S MUSIC STORE, WHICH WAS DOWN FORT STREET, CARRY IT ON THE BUS, AND IT JUST GOT HEAVIER EACH TIME I DID THAT.

YOU KNOW, PLUS THAT, WHEN I WENT TO THE TEACHER, HE'D HIT ME, HIT MY HANDS WITH A RULER, AND • PLAYED THE WRONG NOTE, AND STUFF LIKE THAT.

AND MY MOTHER, YOU KNOW, HAD AN UKULELE.

SHE PLAYED IT, AND SANG.

AND SO, ONE DAY WHEN I WAS SEVEN YEARS OLD, I ASKED HER TO TEACH ME A SONG.

SO, I LEARNED A SONG CALLED DON'T SAY ALOHA WHEN I GO.

AND THEN, I HEARD JESSE KALIMA RECORD OF UM, STARS AND STRIPES FOREVER.

SO, I COPIED THE RECORD, AND I PLAYED IT JUST LIKE THE RECORD.

THEN I WENT TO THE AMATEUR HOUR RADIO PROGRAM AT KGMB.

THEY DIDN'T HAVE TV THEN, YOU KNOW.

SO, I WENT THERE, AND I PASSED THE AUDITION.

I WON FIRST PRIZE.

“STARDUST” ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ MY FIRST PAYING GIG WAS WHEN I WAS FIFTEEN.

I HAD A PARTNER NAMED JOHN LUKELA; HE AND I PLAYED THE SAME STYLE OF UKULELE.

THIS WAS AT THE ARMY-NAVY YMCA, DOWNTOWN.

EVERY WEEKEND, WE PLAYED AND THEY PAID US FIVE DOLLARS.

THAT'S A LOT OF MONEY IN THOSE DAYS.

I WENT TO THE UNIVERSITY ONE YEAR, AND THEN I DECIDED TO JOIN THE MARINES.

AND FUNNY; I STAYED IN FOR TEN YEARS.

FIRST, I WENT TO KOREA AND JAPAN, AND THEN WENT TO CALIFORNIA, CAMP PENDLETON.

AT THAT TIME, I AUDITIONED FOR THE ED SULLIVAN SHOW.

IT WAS IN 1955, AND I AUDITIONED FOR IT AT THE MISSION BALLROOM IN SAN DIEGO.

THAT WAS THE ALL NAVY SHOW, AND YOU KNOW, THEY DEDICATED THAT TO THE MILITARY, EVIDENTLY.

BUT THEN, I REQUESTED TO GO BACK TO JAPAN, YOU KNOW, AND THEY CUT ORDERS FOR ME, AND I WENT BACK TO THE SAME PLACE IN JAPAN.

“GIRL FROM IPANEMA” ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ I KNEW HERB OHTA BEFORE HE WAS OHTA-SAN.

I KNEW HIM FROM WHEN I FIRST CAME HERE AS A STUDENT.

I WAS A STUDENT OF BARBARA SMITH'S IN ETHNOMUSICOLOGY IN THE 1960S, AND HERB WAS AN UNDERGRADUATE STUDENT AND HAD TAKEN, I THINK, MUSIC THEORY FROM HER.

SO, A LOT OF TIMES, WE SAT AROUND; HE WOULD BE STRUMMING ON HIS UKULELE.

HE WAS ONE OF THE ONES WHO TURNED IT INTO A KIND OF A SOLO INSTRUMENT, AND ALSO BROUGHT IT BEYOND JUST PLAYING MUSIC THAT IS ASSOCIATED WITH HAWAII.

BECAUSE A LOT OF HERB'S PIECES WERE POP TUNES, AS WELL AS HAWAIIAN MUSIC, AND THEN A LOT OF JAPANESE MUSIC AS WELL.

HE ALSO WAS ONE WHO REALLY APPRECIATED THE LOCAL CULTURE AND KNEW HOW TO SORT OF BRING IT INTO HIS TALKING WHEN HE WAS TALKING ABOUT MUSIC.

HE WAS ONE OF THE INSTRUCTORS FOR WHAT USED TO BE CALLED THE EXTENSION PROGRAM, THE NIGHT COLLEGE.

AND SO, HE WOULD COME AROUND AND TEACH CLASSES IN THE EVENING FOR COMMUNITY PEOPLE WHO WERE INTERESTED IN LEARNING UKULELE.

ONE OF THE FESTIVALS THAT WE WERE PUTTING ON AT ORVIS AUDITORIUM, WHICH IS THE MUSIC DEPARTMENT AUDITORIUM, HERB WAS GOING TO BE PART OF THE PROGRAM DOING UKULELE.

AND SO, I ASKED HIM, OKAY, WHAT DO WE PUT ON THE PROGRAM, A PRINTED PROGRAM AS THE PIECES YOU'RE GOING TO PLAY?

AND HE SORT OF THOUGHT ABOUT FOR A WHILE, AND HE SAID, JUST PUT DOWN HERB, AND I'LL DO IT ON MY OWN.

AND I ASKED HIM WHY, AND HE SAID THAT WHAT HE LIKES TO DO IS TO COME AND GET A FEEL OF THE AUDIENCE FIRST TO SEE WHO'S THERE, AND THEN FIGURE OUT WHAT HE'S GOING TO PLAY IN RELATION TO WHAT HE FEELS THE AUDIENCE IS LIKE.

AND THIS IS KIND OF AN INTERESTING AND VERY LOCAL WAY OF THINKING.

THERE WERE OTHER PEOPLE WHO WERE DOING IT ALSO, BUT I THINK HERB WAS ONE OF THE ONES WHO MADE IT AN INTERNATIONAL TRADITION THAT DREW MUSIC TO MANY DIFFERENT PLACES AND CULTURES, AND ALSO TOURED.

SO, HE WENT TO JAPAN A LOT AND PLAYED ON THE MAINLAND, SO PEOPLE HEARD THIS KIND OF SOLO UKULELE PROBABLY FROM HIM AS A LIVE PERFORMER.

I REALLY DON'T KNOW WHY HERB CAME TO SEE ME.

BUT I DO KNOW THAT HE WAS INTERESTED IN EXPANDING A REPERTOIRE THAT COULD BE PLAYED ON THE UKULELE.

HERB CAME TO PLAY DEBUSSY'S CLAIR DE LUNE FOR ME, WHICH I HAD PLAYED ON THE PIANO, AND IT'S REALLY VERY PIANISTIC.

AND IT IS MORE THAN FIVE OCTAVES OF PITCH RANGE, AND THE UKULELE'S RANGE IS SO MUCH SMALLER.

I DEFINITELY ADMIRED HIS DESIRE, AND I HAD FOUND THE ARRANGEMENT OF CLAIR DE LUNE TO BE VERY ARTISTICALLY VIABLE, EVEN THOUGH, OF COURSE, IT WAS QUITE DIFFERENT FROM THE ORIGINAL SETTING IN PIANO.

AND SO, IT SEEMED VERY FINE THAT HE WOULD WANT TO TRY TO INCORPORATE OTHER STYLES.

AND OVER THE YEARS, HE HAS INCORPORATED A HUGE NUMBER OF STYLES, PROBABLY MORE THAN ANYONE ELSE.

IT'S A VERY SPECIAL KIND OF TALENT, ONE THAT IS RARE, BUT IN HIS CASE WAS VERY EFFECTIVE.

SO, I'M REALLY IMPRESSED.

“RHAPSODY IN BLUE” ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ MY YOUNGER SISTER, SHE WAS THE EXECUTIVE SECRETARY FOR PAN AMERICAN, AND THEY WANTED SOMEONE WHO WAS FAMILIAR WITH THE JAPAN VIPS.

AND SHE TOLD ME, WHY DON'T I GET OUT AND WORK FOR THE AIRLINES.

SO, I GOT OUT.

I GOT OUT, AND I FAILED THE PHYSICAL; I COULDN'T HEAR HIGH FREQUENCY HEARING.

SO, THE PAN AM THING FELL THROUGH, SO I WENT TO GO SEE MY CLASSMATE, GALEN KAM.

AND HE WAS THE DISTRIBUTOR FOR DECCA RECORDS AT THAT TIME.

AND HE TOLD ME, WHY DON'T YOU MAKE A RECORD?

YOU KNOW.

I SAID, MAKE A RECORD?

I SAID, WHERE DO I GO MAKE A RECORD?

YOU KNOW.

HE SAID, OKAY, I'LL INTRODUCE YOU TO TOM MCDERMOTT, YOU KNOW, AND WE CORNERED THE GUY.

HE WAS THE PRESIDENT OF HULA RECORDS AT THAT TIME.

AND GALEN SAID, PLAY FOR HIM.

SO, I PLAYED FOR HIM IN THE BASEMENT.

BUT HE SAID, WELL, YOU WANT TO RECORD, YOU LET ME KNOW ANY TIME YOU'RE READY.

YOU KNOW.

HE SAID, OKAY.

THAT WAS IT.

WE MADE OUR ALBUM IN ONE DAY.

I DON'T KNOW; THE SONG JUST TOOK OFF IN TWO WEEKS.

WAS NUMBER ONE IN HAWAII, SUSHI.

THE WAY I GOT TO KNOW OHTA-SAN WAS, I WAS A YOUNG MAN OF ABOUT TWENTY YEARS OLD, AND DIDN'T HAVE A JOB.

AND I HEARD THROUGH SOME MUSICIAN FRIENDS OF MINE THAT OHTA-SAN HAD JUST RETURNED FROM JAPAN, AND HE WANTED TO START A GROUP, LIKE A QUARTET.

AND SO, I WENT AND I AUDITIONED FOR HERB, AND SANG FOR HIM, AND I PLAYED THE ELECTRIC BASS.

AND I GUESS HERB LIKED IT, ‘CAUSE I GOT INTO HIS GROUP, AND YOU KNOW, FOR A NUMBER OF YEARS.

OH, IT WAS EXCITING.

IT WAS THE GOLDEN AGE, I BELIEVE, OF WAIKIKI.

I GAVE HERB SO MUCH HEADACHE [CHUCKLE] BECAUSE WE WOULD HAVE UNIFORMS THAT WE WOULD HAVE TO WEAR, LIKE ALOHA SHIRTS.

AND TIME AND TIME AGAIN, I WOULD FORGET WHAT SHIRT WE WERE WEARING, WHAT COLOR SHIRT.

SO, I WOULD GO, AND THEY WOULD ALL HAVE GREEN, AND I HAVE A RED SHIRT ON.

AT THAT TIME, IT WASN'T FUNNY.

HE WOULD PULL ME TO THE SIDE.

EH, ALVIN, YOU LIKE WORK, OR WHAT?

AND I WOULD HEAR THAT ALMOST LIKE EVERY SO OFTEN, AND I KNEW IT WOULD REALLY BOTHER HIM.

SO, OTHER THAN THAT, WE GOT ALONG, AND YOU KNOW, I WAS ABLE TO JUST PASS THE TIME OF MY YOUTH FOR THAT PERIOD OF TIME.

YOU KNOW, IT WAS JUST A BEAUTIFUL EXPERIENCE FOR ME.

“SOMETHING” ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ STPAET STPAET ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ THE IMPORTANCE OF THE UKULELE TO ME IS THAT IT REALLY CHANGED MY LIFE.

BECAUSE I WAS ALREADY KICKED OUT OF SCHOOL, I HAD NO DIRECTION IN LIFE, AND I WAS HEADED DOWN; I KNEW I WAS HEADED DOWN, AND I THOUGHT THERE WAS NOTHING I COULD DO ABOUT IT, EVENTUALLY I WOULD JUST END UP MAYBE SERVING TIME IN PRISON OR WHATEVER WAS DESTINED FOR ME.

BUT HAVING MET OHTA-SAN REALLY CHANGED MY LIFE.

YOU KNOW, I LOVED THE UKULELE SO MUCH, AND I CAN'T EXPLAIN WHY, BUT I JUST LOVED IT, AND I WOULD PRACTICE UP TO EIGHT TO TEN HOURS A DAY, BECAUSE I WASN'T GOING TO SCHOOL.

AND BY DOING THAT, IT KEPT ME OUT OF TROUBLE, AND IT REALLY TURNED MY FOCUS FROM A YOUNGSTER THAT HAD NO DIRECTION IN LIFE TO A PURPOSE IN LIFE.

AND I WANTED TO BEAT MY TEACHER, WHO WAS OHTA-SAN.

MY DREAM BECAME TO BE BETTER THAN HIM.

THE FUNNY THING IS, THE MORE I LEARNED ABOUT THE UKULELE, THE MORE I REALIZED HOW GREAT MY TEACHER IS.

[CHUCKLE] HE'S JUST AN INCREDIBLE MUSICIAN.

HE WAS KIND OF A WILD KID, YOU KNOW.

I MEAN, HE WENT BAREFOOTED, RED HAIR, AND HE WAS HANGING AROUND THE BEACH, I THINK.

I MET OHTA-SAN, I BELIEVE THE YEAR WAS 1963 OR 64.

AND THE REASON I MET HIM IS BECAUSE I WAS TRYING TO LEARN TO PLAY THE UKULELE, BUT NO ONE COULD TEACH ME.

I WAS JUST TOTALLY INCOMPETENT.

AND THERE WAS A SONG THAT TOM MOFFATT PLAYED ON THE RADIO CALLED SUSHI BY OHTA-SAN.

AND FOR SOME REASON, WHEN I HEARD THAT SONG ON THE RADIO, I GOT FASCINATED WITH THAT SONG.

IT WAS LIKE, WOW, HOW COULD SOMEONE PLAY LIKE THIS?

AND EVERY TIME THAT RADIO WOULD PLAY THAT SONG, WHATEVER I WAS DOING, I WOULD STOP AND JUST LISTEN.

AND THEN, ONE DAY, MY FRIEND TELLS ME, HEY, LOOK, OHTA-SAN IS GIVING UKULELE LESSONS.

AND I CALLED OHTA-SAN AND I ASKED HIM IF I COULD COME AND TAKE LESSONS FROM HIM.

SO, I WENT TO HIS STUDIO, AND HE GAVE ME A SHORT INTERVIEW, AND HE SAID, YOU REALLY WANT TO LEARN?

AND I SAID, YES.

AND THAT WAS THE START OF ME LEARNING HOW TO PLAY THE UKULELE.

I STARTED TEACHING HIM, AND I REALIZED HE WAS PRETTY SERIOUS, YOU KNOW.

AND EVERYTHING THAT I TAUGHT HIM, HE PICKED UP, AND HE WAS VERY CONSCIENTIOUS ABOUT HIS LESSONS, YOU KNOW.

AND SO, I TAUGHT HIM EVERYTHING, YOU KNOW, THAT I COULD THINK OF.

AND THEN, IN A YEAR AND A HALF, I COULDN'T TEACH HIM ANYMORE, YOU KNOW, AND I SAID, THAT'S IT, YOU KNOW, I HAVE LESSONS, YOU KNOW.

AND SO, I TAUGHT HIM EVERYTHING, YOU KNOW, THAT I COULD THINK OF.

AND THEN, IN A YEAR AND A HALF, I COULDN'T TEACH HIM ANYMORE, YOU KNOW, AND I SAID, THAT'S IT, YOU KNOW, I HAVE NOTHING TO TEACH YOU ANYMORE.

I SAID, YOU DO WHATEVER YOU WANT TO DO WITH ALL THE INFORMATION THAT YOU HAVE.

I THINK IT WAS ABOUT SIX MONTHS TO A YEAR LATER, HE CALLS ME ON THE PHONE AND HE SAYS, WOULD YOU LIKE TO HELP ME TEACH?

I AM TEACHING AN ADULT CLASS ON SATURDAY, AND WOULD YOU LIKE TO HELP?

AND I SAID, OF COURSE.

AND ALL I HAD TO DO WAS TUNE THE UKULELES OF ALL HIS ADULT STUDENTS.

SO, I WENT THERE THINKING THAT THAT'S WHAT I'M SUPPOSED TO DO.

BUT I REMEMBER, IT WAS AFTER ONE OR TWO LESSONS, OHTA-SAN TOLD ME, OH, BY THE WAY, I'M GOING TO JAPAN ON A TWO-WEEK TOUR; YOU'RE GOING TO TEACH.

[CHUCKLE] I SAID, WHAT?

I'VE NEVER TAUGHT BEFORE IN MY LIFE.

BUT HE SAYS, JUST DO HOW YOU PLAY THE UKULELE; YOU CAN TEACH.

BUT I PRACTICED SO HARD THAT WEEK THAT WHEN I WENT IN FRONT OF THEM THAT FOLLOWING SATURDAY TO TEACH, I WASN'T EVEN NERVOUS.

IT JUST FLOWED OUT OF ME NATURALLY.

THAT WAS THE BEGINNING OF MY TEACHING, BECAUSE WHEN OHTA-SAN RETURNED, HE ASKED ME HOW DID I LIKE TEACHING, AND I TOLD HIM, I LOVED IT.

AND THEN, HE TOLD ME, WOULD YOU LIKE TO TEACH MY STUDENTS?

AND I SAID, YES.

SO, OHTA-SAN NOT ONLY TAUGHT ME HOW TO PLAY THE UKULELE, HE GAVE ME MY FIRST STEP IN BECOMING AN UKULELE TEACHER.

AND LITTLE DID I REALIZE THAT THAT PASSION OF TEACHING WOULD LAST ME UNTIL TODAY; A LIFETIME.

♪ “HI‘ILAWE” ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ I FELL IN LOVE WITH HAWAIIAN MUSIC.

I USED TO NOT LIKE IT.

IT NEVER INTERESTED ME, UNTIL FRIENDS OF MINE IN HIGH SCHOOL LOANED ME A CASSETTE OF THE MÂKAHA SONS OF NI‘IHAU.

AND THEN, FROM THEN ON, I JUST FELL IN LOVE WITH HAWAIIAN MUSIC.

AND I USED TO HOOK UP WITH MY FRIENDS ALMOST EVERY NIGHT TO JUST PLAY MUSIC.

YOU KNOW, HE ASKED ME TO BE A PART OF HIS RECORDING IN 1989, 1990.

THAT WAS LIKE MY FIRST EXPERIENCE RECORDING.

FROM THEN ON, I JUST CONTINUED.

AND I THOUGHT IT WOULD BE COOL TO HAVE HIM A PART OF MY FIRST RECORDING.

SO, I COME HOME ONE DAY, AND I SAID, YOU KNOW, DAD, YOU KNOW, CAN WE DO A SONG TOGETHER ON MY CD?

HE GOES, OKAY, WHAT SONG?

AND I SAID, CAN WE DO SUSHI?

BECAUSE IT WAS, YOU KNOW, HIS HIT IN 1964, I BELIEVE.

AND HE GOES, WHY, DO YOU KNOW HOW TO PLAY IT?

AND I SAID, NO, DO YOU HAVE THE MUSIC?

AND HE SAYS, DO YOU HAVE THE TAPE?

AND I SAID, YEAH, I HAVE THE TAPE.

HE SAID, GO LISTEN TO THE TAPE.

SO, I LOCKED MYSELF IN THE ROOM LISTENING TO HIS RECORDING OVER AND OVER AGAIN.

AFTER A COUPLE HOURS, I GOT THE SONG.

SO, I WAS SO EXCITED; I OPENED MY DOOR AND I LOOKED DOWN, AND THERE'S THE SHEET MUSIC.

[CHUCKLE] AND I SAID, DAD, I THOUGHT YOU DIDN'T HAVE IT.

HE SAID, I DIDN'T TELL YOU I DIDN'T HAVE THE SHEET MUSIC; I JUST ASKED YOU IF YOU HAD THE TAPE.

I THINK MY FATHER AND EDDIE WERE THE PIONEERS, ‘CAUSE I WANT PEOPLE TO KNOW THAT, YOU KNOW, IT WAS PEOPLE LIKE THEM THAT PAVED THE WAY FOR US.

I WAS HAVING LUNCH AT THE COLUMBIA INN.

SO, MY FRIEND CAME TO ME; HE TOLD ME, EDDIE, THERE'S A BOY ACROSS THE STREET PLAYING HIS UKULELE.

HE SAID, COME ON, FOLLOW ME.

SO, I WENT OUT, AND I SAW HERBERT WITH HIS UKULELE.

YOU KNOW.

SO, I GO THERE AND JUST LOOK.

I LIKE THAT.

WHAT I SAW IN HERBERT, HE JUST LOVES PLAYING HIS UKULELE, AND THAT'S HOW I STARTED.

I LOVED THE UKULELE, AND I SAW SOMEONE DOING THE SAME THING, YOU KNOW.

SO, OKAY, WE CAN JUST SET OUR COURSE.

I SAID, DO IT THE WAY YOU FEEL, WHAT YOU WANT TO DO.

I REMEMBER THE MOST VALUABLE THING THAT EDDIE TOLD ME WAS, YOU HAVE TO PLAY YOUR MUSIC FROM YOUR HEART.

M-HM.

AND AT THAT TIME, I DIDN'T KNOW WHAT YOU MEANT, YOU KNOW.

BUT LATER, I FOUND OUT.

[CHUCKLE] YEAH.

BECAUSE YOU TOLD ME, YOU CAN PLAY A THOUSAND SONGS, ALL DIFFICULT, WITH ALL THE TECHNIQUE IN THE WORLD, BUT IF YOU DON'T PLAY FROM YOUR HEART • YEAH.

JUST ONE NOTE CAN MOVE A PERSON.

[CHUCKLE] AND HE SET HIS COURSE ON WHAT HE WANTED TO DO.

I ALWAYS TOLD HIM; AFTERWARDS, I SAID, DON'T FORGET TO PASS IT ON TO YOUR BOY, YOUR SON, SO HE KEEPS IT ALIVE.

E KU‘U MORNING DEW ALIA MAI, ALIA MAI MALIU MAI ‘OE I KA‘U E HEA NEI E KALI MAI ‘OE IA‘U NEI, IA‘U NEI ‘O WAU IHO NO ME KE ALOHA ♪ ♪ ♪ ♪ “SANOE” ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ AND I SAID, WHO'S ANDRE POPP?

[CHUCKLE] HE SAYS, YOU COME TO PARIS IN APRIL TO RECORD WITH HIM.

I MADE CASSETTE COPIES FOR ALL THE MAJOR LABELS, AND THEY ALL TURNED ME DOWN.

EVERY ONE OF ‘EM.

THEY SAID, WE CANNOT RELEASE SOMETHING LIKE THIS, YOU KNOW, IN THE ROCK AND ROLL ERA.

SO, I RELEASED IT IN HAWAII ONLY, AND YOU KNOW, THAT THING WAS SELLING LIKE CRAZY, YOU KNOW.

BECAME NUMBER ONE IN HAWAII ON ALL THE ROCK STATIONS.

“SONG FOR ANNA” ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ TO LEARN THE MUSIC ISN'T THAT DIFFICULT.

JUST TO LIVE THE MUSIC, YOU KNOW, YOU HAVE TO LIVE YOUR LIFE AS A HUMAN BEING, YOU KNOW, OTHER THAN THE MUSIC, YOU KNOW.

BUT IT GOES TOGETHER, HAND-IN-HAND.

YOU KNOW, AND YOU DO YOUR OBLIGATIONS, AND AT THE SAME TIME, BE HUMAN, YOU KNOW.

THERE'S HUMANITY INVOLVED, YOU KNOW, AND THAT'S THE HARD PART, YOU KNOW.

♪ ♪ ♪ ♪ ♪