Set decorating then vs. set decorating now....opinions

This is a good chance for another rant and rave following the last post.  Once again Rubber Chicken has a comment that prompted another post.  These photos are from a set my crew and I did for a TV show.  It is sort of a den / office / lab set.  It was built on a soundstage and all the walls were constructed, painted and the set pieces shopped for with only a few things rented.  (If you can believe it, they changed the script and this set was never filmed)!  Just like in English class when they used to say "compare and contrast" this set with Higgin's den, for example.  We have now arrived at our topic:  Obsession with detail to the point of distraction or simply, "more is more, not better".  Just my opinions...........

Last year I bought one of the seasons I had done of Magnum--not having seen the show in more than a decade (I know, shocking!)  Once I got past the short shorts, the most surprising thing was the absence of set decoration.  I don't mean empty walls or barren back alleys, but the lack of detail, obsession, and quantity of STUFF.  This wasn't necessarily a bad thing, but it did start me thinking.

In the previous post I talked about set differences between Magnum and "LOST" which was as much a difference between eras as the shows themselves.  Going back even further when you watch 50's reruns of shows like "Gunsmoke" or "The Honeymooners", there is practically no set dressing at all.  Magnum looks very "modern" compared to that era.  So obviously there is a trend towards more detail and more realism.

Almost 100 years ago, a New York stage director / producer dismantled an actual tenement room and had it reconstructed on the stage where it shocked audiences with its realism.  Prior to that, sets had been more theatrical or suggestive.  This lead to all sorts of "realistic" attempts even including horse racing on a treadmill onstage before audiences were ready for a more balanced look to their theatrical experience--go to a real race track and watch a real horse race.  The trend towards realism in television has gone in the same direction.  Going from not being able to say "pregnant" 50 years ago to having to have parental controls today.  Did you know there are even standards for how much blood you can show at 7:00 p.m. vs. how much blood you can show at 9:00 on network TV?  Do you ever see anyone smoke on network TV today?  So the look, rules, regulations continue to change but they are still with us today.

In the previous post I discussed the availability of accurate research on the internet.  This has also lead to an obsession to recreate this realism on  television.  Ironically with the MTV style of camera / editing today (with 2 and 3 second shots being normal), you actually see much less of the sets.  Murky backgrounds, shadowy lighting, mostly close-ups, and fast shots define many TV shows today at the same time obsession to detail and accuracy is the trend.  Next time you watch any of the top 10 shows today on TV, see what I mean.  This does not include sitcoms that seldom venture out of their living room or kitchen sets--but you will notice much more clutter in and sometimes over-the-top statements to define their character. For example,  "Roseanne" had the picture of the dogs playing poker in their living room and that old afghan on the sofa as a way of saying "lower middle class" even though I never thought it was appropriate for their characters.

While I've always held that the set should say something about the character even before they enter the set, that seems to have gotten a little out of hand.  Yes, the set should tell a story, but it isn't The Story, it is an environment that should support it, not dominate it.  Wow, chisel that on my tombstone!  Last, but not least, my gripe about period sets.  In your living room in 1975, was everything in that room FROM 1975?  Was everything orange and brown, shag carpeting, swag lamps, chrome frames, and macrame?  So often, particularly in features, as a way of "selling the era," they research the period to death and damn well make sure everything is right!  So you wind up with star-burst clocks and flower power for 60's and pink flamingos and chrome dinette sets for 50's, etc.  Sets are crammed with "iconic" looks from the period, the EXACT period, that they are almost distracting.  Didn't you have anything from the 60's in your living room in the 70's or did you throw everything out every decade and buy new?  Sometimes it is more interesting to see what is IN the room than what is going ON in the room.  Of course, I prefer sets over plot anyway so I have a different experience!

Well, my coffee is out and so is your interest about this time, so I'll close for now.  Still waiting for the slides to come back from India.  Ok, so "Slumdog" won, send the pictures already!

Aloha,

Rick

"Magnum" vs. "LOST" / Apples vs. Oranges / Loc. Photos

Isuppose this blog will go on forever if I keep answering questions I've covered before, but each time I'll do it better!  "Which show had the more challenging sets" is an answer worth repeating if for no other reason there are now 30 more followers since the last time I answered the question a few months ago.

The era of the 80's with Magnum was more like the Garden of Eden of Resources.  First, I was probably the youngest decorator to be doing a top 10 TV show who wasn't related to a major studio executive.  Armed with my M.F.A. degree and some years of stage design behind me, I was ready!  5 episodes into season 4 when my boss, The Decorator, was fired--his former assistant decorator walked into the arena to do battle.  It wasn't much of a battle then.  I met with the directors alone and the division between decorating and art direction was very distinct.  The art director talked skeletal bones and I talked flesh and the look.  My position was much more independent and my dealings were with the director more than the art director who I would do the courtesy of showing what I was planning would coordinate with his paint and design. (shocking HERESY today!)  I would even dare to speak the truth then:  "It's not so much about what you want as what I can get here."  OMG, today that would be like saying something so horrible I would be banned from the internet and on my way to Guantanamo.  So, the position was much more independent and creative back then and my design input more necessary and appreciated.

The Garden of Resources was amazing.  Everybody rented set dressing items then.  High end looks came from C.S. Wo, middle and lower end looks from The Consignment Center, Asian (then "Oriental") came from Treasures of the East, "old" from Eurasian Antiques, lighting / lamps from Aurora for Lighting, Hawaiian style from Rattan Art Gallery and a quick stop at Woolworth's and I was done with that episode.  If that wasn't easy enough, I even had an assistant, a lead man, and a crew besides my personal driver and 5-ton truck driver (the truck weighed 5-tons).  Almost as much care was given where to have lunch as many of the sets.  Well, all those sources are long gone and C.S. Wo hasn't rented in 20 years and you can't even "buy off the floor."

Fast forward to the era of TODAY with a show like "LOST" (or any other big show) and it is a changed world.  Many "big box" stores that replaced more local companies do not have any rental policy.  Smaller local stores don't like their stock being off the floor for a week or more at only 15% rental (some charge 25-50%).  So much more has to be purchased today rather than rented at a fraction of the cost and returned.  That means $1.25 /sq.ft. / month for a warehouse space to store all the purchases since there are fewer rentals.  At least "LOST" repeats many of  its sets in flashbacks.  Yes, the internet has opened up resources to find, purchase and ship, but it is a double edged sword.

The internet has also made research only a click away.  In the "Magnum Era," who knew what a basement of a synagogue in China looked like in 1945?  And to a certain extent, who cared?  We said it was--so it was.  Today it is very hard to fake the look of anything.  In fact, the research available is overwhelming:  is this  synagogue conservative or Orthodox, what part of China?, etc.  With digital technology, it is possible to analyze sets, props, and set dressing with extreme detail.  Corresponding with this technology, there are people who seem to have an amazing amount of time to look at the wrong dates on x-rays and titles on books and post their findings on endless blogs (present company excluded, of course).  So the attention to detail from both the set design / decor / props and those who examine this detail and greatly upped the "need" for accuracy.  Thus, the creation of the Production Designer.

The role of the Set Decorator has changed since Magnum.  Today it is rare that I ever even meet the director,  ride in the same van as the director on a scout, or that the director would even know my name.  Many times I have stood next to a director opening a set when he thanked the Production Designer for "his" fabulous set which the P.D. had only seen for the first time seconds before.  Many times this "anonymous decorator" says "Thank you" and walks away in his anonymity--disgusted.  Although it does vary from project to project, many Set Decorators have been reduced to  "Head Shopper / Buyers" more than an independent or even co-creative partner.  Having to have Production Designer approval on each item before it can be placed on a set (particularly with fewer choices today) is frustrating if not insulting.  Ironically, there have been times when the Production Designer "got it wrong" and the set was rejected with much fanfare by a director or producer in front of the whole crew.  I am the first to answer "I was just following orders" before quickly trying to rectify the "problem" I did not cause.  My favorite story is that the last project I did when the Production Designer turned in the set dressing budget--before I was even hired!  Since he was $20,000 short of reality, I was once again the messenger trying not to be shot when I delivered the bad news to the money producer.

So today, Set Decorators have shopper buyers working to please a Production Designer who has art directors overseeing their set construction and set designers / draftspersons designing with additional accuracy,  and sets cost much more.  I'm not so sure that all of this "more" has resulted in "better."   Truthfully, some of the best "sets" on Magnum were just showing the natural beauty of Hawaii.  The rest were designed on paper napkins at lunch.

To that end, here are a few photos I shot a couple of hours ago while riding around east Oahu with my visiting sister.  The cliffs above Makapu'u are near the "T.C. Helicopter" exterior, and the islands are offshore of "Robin's Nest."  And these sets didn't cost a dime.

Oh wait, what was the question again?  Oh yeah, well if I could have done "LOST"  then and "Magnum" now, I would have been far less challenged!  But then Tom would be in his 60's and no one would be wearing short shorts............

Aloha,

Rick

Bridge Invoice and work schedule information

Getting ready to put some things on ebay and found this invoice for the bridge model.  It's funny the things I've found and saved.  I'd probably toss all this stuff out, but it seems like some of you are interested.  Maybe?

I also didn't finish answering all of the schedule info.  In the previous post I discuss the normal film season schedule and the normal episode schedule.  The "normal" work week schedule was Monday through Friday.  The normal work day began at 6:00 a.m. and ended at 6:30 p.m. with 1/2 hour deducted for lunch--although lunch always went a little longer than that.  A lunch wagon travels with the show to feed us. If there was to be night work, then maybe the call time would be noon or later with the 12 hours extending into the night.  Back then if you worked a Saturday, you received 1.5 times your normal rate--even if you only worked that one day.  If you worked a Sunday, you received 2 times your normal rate.  It was very rare that we ever worked a Sunday and sometimes Set Dressing worked a Saturday--usually the film company did not.  Today work is based on a 5 day week--any 5 days with the 6th day at 1.5 and the 7th at 2 times your rate.

There were no sick days or vacation days.  If you showed up for work too sick to work, you got 8 hours even if you went home earlier.  It was an unfortunate way to spread the flu or colds since you would get your 8 hours anyway.  Department heads were usually on a weekly rate.  I used to say to my crew that the only way I could make more money was to go home early.  The only way they could make more money was to work late. It didn't always work out that way.  Some L.A. people had other deals like getting Saturdays "worked or not worked."  

I know the stereotype is that we are all overpaid and have all these benefits.  Truthfully, it is a very demanding business without excuses, explanation, and no reason needed for being fired.  If you are a daily hire, you are only guaranteed that day.  I often wonder if I had started at McDonald's back then instead of Magnum, if I wouldn't have been better off financially?  But am I bitter................

Another rule we had back then but has since gone away is that all department heads had to be driven while they were at work by a teamster driver.  While I won't go into the history of this policy, it was just a given back then.  I was allowed to drive from my home to work and park my car.  After that, all shopping, scouting, dressing, etc. during work hours, I was in a company car or van and being driven by a teamster driver.  No, this wasn't a luxury or even necessarily always desirable.  It just was and you didn't question it.  Over the years this rule slowly eroded and now I am able to drive a van, shop alone, and carry things.  Company vehicles and trucks are still driven by teamster drivers today who are an accepted and valued part of the company.

These are fairly standard situations for most film and TV companies.   There is potential for abuse in these intense working conditions.  Costs are high, demands are great, conditions often  extreme, egos sometimes huge, hours are long, and the work intense.  Sometimes it is difficult for the "outside" world with a 40 hour work week, regular breaks, vacation time, same location each day to always understand the hours and conditions of a film / TV company.  As someone once said to me, "I've never worked on a show that wasn't cancelled."

Aloha,

Rick

Magnum, P.I. Filming Schedule & misc. answers to questions

I will save up a few emailed questions from time to time and answer them here as a post so all can see--especially when they are such good questions:  "How long did it take to film an episode and a season of Magnum?" and "What ever happened to Archie Bacon?" (former Art Director of several years of the show).  As usual, I am incapable of short answers...........

Looking at some of my old calendars, I went back to work for the 1984 season on July 30, my crew started on August 9,  I think filming began on August 2o or possibly 27th.  Tom came back to work on September 5th. Filming 22 episodes that season ended on March 28th (library set) and my last day of work was the 30th.  (by contrast today, "LOST" took 3 months longer to film 22 episodes).  My first day back for the 1985 season was July 29th so I would assume things again ended in late March or early April.

Shows were normally "boarded" for 7 or sometimes 8 days.  The 1st Assistant Director would break down the script according to days at a location, proximity of locations to each other, availability of actors, and the estimated page count (time) of each scene.  Before computers, they used strips of paper put into a literal "board" to plan the schedule.  1st A.D.'s should be running this country as their ability to consistently figure out all of these variables is amazing.  (and when they fail, they are fired--unlike our politicians).  The studios who own and/or distribute these shows plan (if not insist) on following this 7 to 8 day schedule.  More time is more money.

There is something called "2nd unit" which is supposed to mean "non principal(s) photography" meaning that there are some scenes that do not involve / require principals ("stars") of the show.  So helicopter shots of Tom driving the Ferrari with classic dialogue like "Life is a lot like pizza............."  or a close-up of a watch on Higgin's wrist, or Tom stitching up a wound, etc. are usually second unit--meaning it's a photo double driving the Ferrari, a stand-in wearing a duplicate shirt and coat and watch for the close-up, and our medical consultant's hands actually doing the stitching.  These 2nd unit shots usually have a separate crew, camera, and may all be done on one day and later edited into the final episode.  The time it would take to set up separate lighting and camera angles just to show a 2 second shot of a watch while using an actor whose time is limited to so many hours a day does not make financial sense.  Nothing else in this business makes much sense, but the money parts do.

There are times that, to appease the studio powers that be (also known by the more technical term as "covering your ass"), shots may be relegated to 2nd unit in order to keep to the original first unit schedule.  Keep in mind that while filming is going on for one episode, the next episode is prepping and there is no time off between the current show and the following one.  In set dressing, for example, while we are shooting we are wrapping the previous episode AND prepping the next one.  And for this amazing ability, I would assume our life expectancy is 10 years less.  Unemployment does have some unintended benefits.........

The answer to what ever happened to Archie Bacon is a bit shorter:  I don't know.  

It's a strange phenomenon in this business.  You work side by side with people 60-80 hours  a week off and on for years.  You know their partners, kids, birthdays, and sometimes more than you care to know about them.  You knock yourself out, jump through hoops, cure the common cold, and cut off various body parts for them. Then they go back to L.A. and you never hear from them again.  Well, once I did get  Christmas card from Fred Silverman, but I think his secretary sent them to everyone even if he hadn't met them.  So that's just how it is.

Archie Bacon was an amazing person and designer.  He was always creating "something" and was really good at whatever he did.  He was also very humble and nonchalant about it.  That alone is very rare in this business now.  I did stay in touch with Lou Montejano off and on for about 5 years after Magnum and we even worked together again when I lived in L.A. doing "Jake and the Fatman."  The person who originally hired me on Magnum (who does read this blog sometimes) is really the only person (besides my original crew) who I do talk with.  Our similar departures from the show were under the same shady shadow of corruption which is still spoken of in hushed tones until a few more bodies are buried.  Sounds like a Magnum plot.

Ok, I can hear some dry rot and termite damage calling to me so I'd better get something done today.  I think I work harder around this house on unemployment than when I do work for a paycheck.  The Midwest work ethic never leaves.

Aloha,

Rick

The Bridge over the River Arno

One of the best parts of doing this blog for me has been meeting, or at least hearing from, interesting people from all over the world.  I was very happy to hear from my new friend Cristian in Tuscany (where the Arno flows and my obscure humor doesn't).  This is a model of the Bridge on the River Kwai he built while in Middle School.  The last time I saw this model, it was sitting on the shelf in Higgin's den.  All these years later seeing "my" model brought back memories of sticky fingers, frustration in trying to keep all those little railings vertical, and even to making the side "rocks" out of plaster--or whatever I used.  Who would ever think that someone on the other side of the world from me would someday duplicate this bridge model?  Or are there dozens of duplicates I'm not aware of??

As I mentioned earlier, I did make a beginning, a middle, and an end model and was just off camera when John Hillerman would put a piece on the partially finished bridge model.  They would yell "cut" and I would take the piece off, wipe the glue off, and ready the piece for another take.  I thought I'd died on gone to heaven!   A couple of years later I was in charge (well, for a few years at least).  So many thanks for Cristian for sharing his photos and giving me permission to use them here.

Speaking of permission, some of my photos will be appearing on Magnum Mania with my permission.  The point of my blog is to share information, memories, and answer questions.  However, if these images start appearing on coffee mugs and t-shirts then---hey, I want in!

In my haste to post the 50th anniversary of "legendary" Magnum Prop Master, Rick DiNieri, being in the I.A.T.S.E. Hollywood Local 44, I spelled his name wrong in the previous post.  I'm sorry about that.

Aloha,

Rick

P.S. - forgot

I forgot to say CONGRATULATIONS! to Rick Dineri who celebrates his 50th year of being in the prop master's union, Local 44 in Hollywood.  I am also a member of that union and saw his name in the latest newsletter--yes, I actually read those things.  Wow, 50 years, he must have only been 8 years old when he worked on Magnum.

Also, I am waiting for permission, but one of the blog readers sent me some photos of a bridge he built like the one he had seen on the show and it is fantastic. No, I don't think he is taking any mail orders right now, but it brought back a lot of memories of how sticky my fingers got gluing all those little pieces together.

Back to Basics...........Set Photos

I feel like one of those vaudeville performers who just keeps on tap dancing while waiting for the next act to come on.........except they're late.  Well, I may not be able to tap dance, but I am still waiting for my slides / cd  to come back from India so I can post more set photos.  In the meantime I'm trying to come up with other interesting photos--like a bust of Jack Lord facing Macy's at Kahala Mall!

This is probably the most obscure of all my set photos:  A 1945 basement of a Jewish Synagogue in China!  I'll bet the writer's stayed up all night thinking of that one--it's obscure even by "LOST" standards.  Again, no idea which episode or why or what it was for.  I scanned all 3 photos as one rather than individually since there's not a whole lot to see.

It is interesting, though, because the paint job on the columns is pretty good, there is dirt on the stage floor, you can see the ends of the set and catwalk above, and, of course, the set dressing is fantastic!  (what little there is of it--crates, brass items, boxes).

Another side note, I always have to laugh now when a director or designer says "just get a few wooden crates" and I respond with "we have to build them."  I suppose for 100 years or more, wooden crates were readily available and cheap and usually discarded.  Now that we have decimated many of our natural forests,  wooden crates are almost impossible to find anymore.  We used to get ours from a place called Jade Food Products for free, then .50 cents, then $1.00 a crate, then they switched to cardboard and no more crates.  Incidentally,  the only cardboard box plant in Hawaii shut down last summer.

Now I'm running out of obscure information about cardboard plants in Hawaii AND photos, so maybe I will have time to learn how to tap dance?  Hey, it could happen.

Aloha,  Rick

Old gate house to Fort Ruger and Jack Lord memorial

This should also settle the question of what is at 3949 Diamond Head Road.  Other buildings include the Red Cross, ARC School, and a dog park across from the film studio.

Photos of former Mgnum Soundstage and studio (February 2009)

More about film studio, Hawaii 5-0, Magnum

Idrove over to my old haunts around the film studio today (in part to let my visiting sister help our economy shopping at Kahala Mall) and took some photos.  Rubber chicken has put his original letter to me under comments in the previous post if you want to follow all of this.  I also forgot to point out that the google maps of the studio area are at least 4 years old since they do not show the new studio offices and construction mill although the new soundstage is shown.

I took pictures of the corner of Diamond Head Road at 22nd Avenue and again at 18th Avenue.  I think some of you will recognize parts of the National Guard building that was used in some Magnum episodes.  I wasn't aware that across the street from this building (on 22nd Avenue) there are still some of the old WWII warehouses still in use for something.  I remember when they used to actually store tanks there.  As this is the most expensive part of the island, I used to tell visitors that this area had their own army for protection.  In any case, there does not seem to be any trace of a warehouse that could have been the one where 5-0 was filmed.

Sorry, couldn't add these photos on this post so refer to above next posting for views.

The view at the corner of Diamond Head Road at 18th Avenue is much greener and better landscaped than it was during Magnum times.  The old soundstage (renamed the 5-0 Stage and now used for storage by "LOST") has a new sliding door and has been repainted, but is otherwise the same.  It's just an old Butler Building warehouse, but is the holy grail for Magnum fans.  The new studio gates and guard house are an improvement over the old shack and chain link fence that were the entrance for Magnum slightly to the left of the main gate and still there.

Well, it ain't much folks, but it is 30 years later and this is what it looks like now.

Aloha,  Rick

P.S.  here is also a detail of one of the old guard houses to Fort Ruger and now an electrical substation.  Also the bust of Jack Lord outside Macy's at Kahala Mall.........odd place for a memorial.

Answers to Questions.........and the usual ramblings

Aloha from cold Honolulu..........yeah, I know, no sympathy from most of the winter world.  Well, the 60's are cold here at night and with the wind chill, even 50's.........and in a Speedo it's even colder........ok, enough.

Rubber Chicken asked so many good questions on my  gmail account, I thought I would answer them here.  I know I did write about some of this earlier, but this blog is sort of like "LOST"--who wants to go back and read all the old posts to know what's going on?

Those of you who have the amazing Google Maps downloaded can check out photos of the areas of Honolulu being discussed here.  (zip code is 96816)

His questions pertain to the "old" studio and its location.  I don't actually know if the address was 3949 Diamond Head Road.  As I remember it (33 years ago this Spring), it was on 22nd Avenue and Diamond Head Road.  Because the "new" film studio is on 18th Avenue at Diamond Head Road and has the address of 510 - 18th Avenue, I'm not sure about the 3949 address.  The next time I am over there (which might be tomorrow or the next day), I will check it out and maybe take some photos.  I was working up the hill in 1976 at what is now Diamond Head Theatre when I got a call about salvaging some materials that were left behind when 5-0 moved to the new 18th Avenue studio location.  I turned their old sky cyc. (light blue muslin material used outside their office interiors as "sky") into many backdrops and show curtains for years after at the theatre.  As I recall it was on 22nd Avenue--but maybe it was further down?  There is no building large enough to have been a soundstage there now, but so many of those old WWII buildings have been torn down (some were even pre WWI).  I do know that the first season (at least) of 5-0 was filmed in an old quonset building at Pearl Harbor.  You could still see part of it, but I haven't really bothered to look lately.  I remember hearing it was a real mosquito haven.  I'm sure Jack's hair prevented any from biting him there.

While I don't know which episode was entitled "Lest We Forget," I do know that we used the entrance (and other parts) of the building on 22nd Avenue and DH Road as a prison and other "secure" or military looking locations in other episodes.  It's still there and I will post some photos--at least they won't have to travel to India to appear on this blog.  (still waiting for their return btw).

A 1976 building permit would have been issued for the "new" (Butler brand warehouse building) sound stage that was erected at the current film studio at 510 18th Avenue.  As I stated before, the (now "old") soundstage has been renamed the "Hawaii 5-0" stage even though it was only used the last 3 seasons (1976-79) of 5-0.  It would have made more sense to call it the "Magnum, P.I." stage since it was home to all 8 seasons of Magnum.  The old office-bungalows are still there only because the State ran out of money to tear them down and build what was supposed to have been another set of offices for another sound stage that was also not built.  The "new-est" soundstage and offices are currently being used by "LOST" with the 5-0 / Magnum stage used only for storage.

Again, as mentioned before, this entire section of Honolulu was a pre-WWI army base called Fort Ruger.  It included all of Diamond Head crater and the area from Kahala Avenue to part way down Monsarrat Avenue and all the way up the hill to Leahi Hospital which was "THE" hospital in 5-0 and also often used in Magnum as well.  At each end were the stone guard gate houses when the entry to the army base would have been restricted.  The larger one near Kahala Avenue does not have a roof but houses an electrical substation for the area.  The smaller one on the town side is just empty.  It's hard for most people to imagine the size of this base with huge gun implacements (some still there), an area that now houses a large cemetery,  a community college, Diamond Head State Park, water supply tunnel, etc.

As far as "teaching the ways of our strange Oahu building codes" that Rubber Chicken requested, I could start another blog on that subject alone--only it would have to be anonymous.   I prefer not wearing any concrete when swimming in the ocean.

I have a few last set photos to post and hope I hear from my friends in India soon on the 96 slides I've sent.  When I last heard they were "in queue" which sounds better than dumped in a pile awaiting scanning.  I also found some things to put on ebay that might interest some of you.  I will at least post the photos here before they go away to a better home than 25 years in my attic.  I found some plans and drawings of the big Vietnam Hotel set and a lot of my notes from scouts and schedules and things.  I even found  complete crew list.  I doubt that any of the phone numbers would be the same 25 years later and most names were listed at the end credits anyway.  Any other documents with names or location phone numbers would not be a good thing to post.

I love reading your comments I hope as much as you enjoy my posts!

Aloha