 I'm Jay Fidel, it's music to our ears. And Dave Moss is music to our ears. He's the executive director of the Hawaii Symphony Orchestra. And that is something, you know, very important now because we're trying to save the world and Dave is helping us save the world through music. It's really important. So Dave, welcome to the show. Thanks for coming. Hey Jay, thanks so much for having me. Great to see you. So the last iteration you were in Chicago, taking degrees and studying, playing... You're a musician, aren't you? Ooh, you're a musician. Tell us about that. That goes first. That goes first. Yeah, being a musician is first for me, mostly because it happens so early in my life. I actually started violin at the age of two, certainly not by choice. It was passed on to me from my parents and older siblings that were musicians as well. And so that's really been a first language to me. And I realized that how privileged I am to have had that experience. And so that's kind of guided me throughout my career, but I received performance degrees from Overlink Conservatory and the Juilliard School and then had about a decade-long career in music, doing everything from playing with the metal orchestra to backing up Kanye West and the who. And then found myself back in Chicago, doing an MBA at University of Chicago, running an opera company that only did opera from the age of enlightenment. So a very niche market for that opera company and playing in the orchestra for Hamilton in Chicago all at the same time. And it's following me. It's coming to Hawaii in December here. So, but yeah, really, for me, it's the community that we build around these organizations through music. And I've been with the Hawaii Symphony Orchestra since March 10th of 2020. I know that. Everyone should know that. So when you were in Chicago, did you ever run into Quinn Kelsey? Because Quinn Kelsey is a local boy, went to the Lyric, the opera Lyric in Chicago. And then from thence, he went to the Met where he is a fabulous star. And people here love him. My wife said, if she ever disappeared, it's because she ran away with him. I completely understand. You know, having heard a number of his performances at Lyric Opera during my time there and actually hearing a performance or two at the Met while visiting, just a tremendous artist. And what a representation of the voice, the voice of the Pacific here and the tremendous young artists programs to develop these young artists here in Hawaii and just a testament to the local talent that's still here as well. So I too might run off with Quinn. Okay. Now, what is this about you and 17th century instruments? Catgut, as I recall, together with, and here's the big question, together with Roy Whiskey. And do you pour the whiskey into the viola or on the catgut? Not neither of which, you know, it's, I think there's a viola joke in there somewhere. You know, we've done all these tuning ups with Iggy and Dave throughout the pandemic. Iggy being our wonderful concert master at the Hawaii Symphony Orchestra, really a dedicated community member here to the music community and community at large. And that came up quite a bit in conversation. So Baroque music was played on a little bit different instruments. As concert halls got bigger, we had to ramp up the tension, higher tension, more sound fills a place like the Blaisdell Concert Hall. But I had a particular interest in turning back the clock. And with my previous company, we offered time travel. So we would do a premiere of a work by Morey, a composer who had an opera commission by Louis XIV. It was performed at Versailles and then 300 or so years later was performed in Chicago. And so we could take our audience back in time to experience that depth. That's great, fabulous. So let's talk about your events these days. Let's get people out there. Let's put COVID behind us. What events have you got scheduled and where? And do I have to wear a mask? Those are all excellent questions. I am as eager as you are to put COVID behind us, but to also take all the lessons that we learned as an organization about becoming resilient and how we manage our finances and how we double down on our mission throughout the pandemic to really give this community music. We're taking all of those things with us, but we really would like to leave the masks and the vaccination checks at the door, if you will. We're not quite there yet. We've got performances coming up here in the month of April at the Hawaii Theater Center, also in May at the Hawaii Theater Center. And we're following the protocols of the theater to still keep masks on despite the ending restriction this week and to also still require vaccination or negative test. And with that, we had patrons who purchased tickets with the expectation that vaccination would be in place and we wanna honor that commitment because those were the people who first came out and supported us ever since our first live indoor performances back in November. We were one of the first organizations to reopen our doors indoor. We did it about seven days after the mayor gave us the okay. And I'm grateful to Greg Don and the team at the Hawaii Theater Center for getting us to that point that weekend. And it's just been an upward climb ever since. But as we're headed into this next month here, we just came off a great set of performances this past weekend at the Hawaii Theater Center, Abram Symphony, a wonderful evening of Hawaii calls with Aaron Jay Salah throwback to the radio and television show. But looking forward here, our next performances are on Friday evening in April with none other than Robert Casemiro. So this is part of our Hapa Symphony series, our half classical show, where it'll be a little bit of classical music and a whole lot of Hawaiian music. And so Robert has a new album that came out recently and a young composer here, Michael Thomas Bumai has written arrangements to some of those new works that will be performed by our orchestra with Robert. There will be Hula. It'll be a wonderful night at the Hawaii Theater Center. And then on Saturday and Sunday of that weekend, we have two Beethoven piano concertos performed and conducted by Ann Marie McDermott. And to round out the program, we have a premiere of a new work by Leila Hua Lanzalati, Kaka Maoli, someone who grew up here in Hawaii, someone who I've known since my college days that recently returned here to Hawaii. We have a new work for the orchestra by her. Ask me my favorite. Your favorite? Ask me my favorite. What is your favorite? Funny you should ask. Hawaii calls. I've always had a thing about Hapa Holy Music, Hawaii calls, and it's wonderful that you're doing that. How do you do that with a symphony orchestra? Well, one of the things that makes us unique here in Hawaii is that music, that music of this place. And as an orchestra, we have made an effort over the past two years to think of ourselves as a Pacific-centric organization and not necessarily as an American orchestra or at all as a Eurocentric orchestra. And so by leaning into the musical culture of this place, by using local artists, by looking towards the past as well as the future of artists here and developing that talent, we're able to put together these programs of the Hapa Symphony. So we kicked off the season in February with the Makaha Sons, which I believe they're celebrating 40 years. I mean, four decades of music together. And then the program this past weekend was hosted by Aaron J. Salah. We had excerpts of Hilo Hattie and all of the wonderful cast of characters from Hawaii calls. We had one of the last living members of the cast join us for the performance. We had a new arrangement of the Hawaii Calls theme by Michael Thomas Fumai. And it was an evening of storytelling, of telling this radio show that for decades gave people this taste of what Hawaii was and enticed them to come to the islands here. We're able to still share that. And there's this renaissance of this throughout the world right now because people haven't been able to visit. And so we're leaning into that and developing that for a wider audience. But then as we go in, Robert Casamiro again next month, and then we'll close that series with none other than Raiatea Helm. And again, a program of music, some by the Queen, others from artists like Makaha Sons and tons of great arrangements by Michael Thomas Fumai. But I tell you, we have, I don't wanna call them a backup band because there's so much more than that. But working with these artists and having 64 of the best classical musicians behind them on stage is like none other experience. And Jeff Peterson, you mentioned Jeff Peterson. Yeah, we've worked quite a bit with Jeff Peterson. Jeff has a concerto that was written for Steel Guitar and the orchestra. He's performed it with a symphony here a few years ago. He just performed it with an orchestra in North Carolina, I believe. And we're also in a conversation with Jeff. He has two wonderful children's albums that he's done with Lea Almanza. And so we're looking to the future of developing young programs for Kiki, for kids to come sing along with the orchestra and start to expose this next generation of future music lovers. And with that, I have to mention our project that we just launched yesterday. We are doing Peter and the Wolf. We're doing eight performances during the month of April. The Prokofiev piece that has enlightened generations of classical music lovers and young kids. And we're going to be doing that in Olelo, Hawaii. So we'll be doing it in Hawaiian and English. And at the end of April, we'll be doing it in Tahitian as well. And so these are all free concerts. You just sign up on our website to attend. They'll be at Mission Auditorium and they'll be at the Kauai Hau Church. So a lot of opportunities to expose everyone, anybody who's interested to classical music at our symphony. And your website is? Our website is my-h-s-o-dot-o-r-g. Okay, HSO standing for Hawaii Symphony Orchestra, got it. You bet, Jeff. Okay, let's talk more about the, I guess the Hawaii Theater Arrangement. You've fashioned a partner, by the way, just a digression. What kind of vitamin pills do you take then? I'm not, a lot of coffee, does that count? Yes, it does. Okay, moving right along. You have fashioned a relationship, a new and more robust relationship with Hawaii Theater. Can you talk about it? Yeah, absolutely. This is a conversation that had been started before my tenure with the Hawaii Symphony Orchestra. And the credit goes to Michael Titterton, who formerly of HPR, and is a wonderful board member at the symphony. He and Gregory Dunn, the president and CEO at the Hawaii Theater Center, for a number of years had been talking about what a partnership would look like. It's no secret that some of the challenges that the symphony has had in the past is due to not having what we call permanent home. We get to use the Blaisdale. There's other shows, the launch of Broadway in Hawaii that utilize that space. And we weren't able to often get as many weeks, as many weeks we needed to be in the Blaisdale. And it's also just a huge space for the number of subscribers and where our audience numbers were at in recent history. And so that kind of directed us towards this opportunity with the Hawaii Theater. The Hawaii Theater is another nonprofit organization. So it's a mission-driven organization like the symphony. It's a little bit different than dealing with a government agency as you can imagine. Our priorities are more aligned, I would say. And we both have to operate with both earned and contributed revenue. We need donors, we need supporters, but we also need ticket buyers. So one of the things that happened as I first got here was the merging of our box offices. So two organizations, similar budget size, we're spending a lot of money to just get tickets into people's hands. You need a database to do that. And so by merging that, it was able to save both of our organizations a considerable amount of money, half a million dollars a year by having these two together. I have employees that work in the box office that can help with Hawaii Theater Center events. And then all of those employees also know our subscribers and our ticket buyers because they're coming to the Hawaii Theater Center week after week. And so for us, it's about how do we serve our patrons best? And that's through great customer service. And at some of the other venues in town, that's not always the first priority. We know that we wanna get you into your first concert. We wanna get you back for your second. We want you to become a subscriber. And then we'd love for you to become a donor and then later in life be a plan giver because our endowment is one of the things that sustains this organization. And that comes through plan gifts. So that's sort of the patron journey that we talk about. And this partnership with the Hawaii Theater Center has allowed us to foster those personal relationships in a much more meaningful way. I'm so glad you're on the show, Dave, no kidding. So we talked about Blaisdell. We talked about the Hawaii Theater. Let's talk about the Waikiki Shell. And in that case, there's certain constraints on what kind of people can come and what they can bring with them and what could they do on the grass out there and so forth. And there's also a difference in the repertoire. Between these three venues anyway, you play certain kinds of music in one, certain kinds of music in the other and certain kinds of music in the other. Waikiki Shell is sui generis in its own category. And I wonder how you treat that and what the possibilities and limitations are. The possibilities are endless at the Waikiki Shell. I will never forget my first week with the Hawaii Symphony Orchestra. I was meeting some of our council members and it was Ms. Fugunaga who said, why isn't the symphony used the Waikiki Shell? And I'm looking around the room going, what's the Waikiki Shell? No one's told me what the Waikiki Shell was. But then we had a pandemic and we couldn't be indoors. And we started asking more questions about this Waikiki Shell. And there had been a construction project that was happening there to do some infrastructure improvements. And we were able to move in there in May of last year. And we actually did eight weeks of performances last summer. We were the first organization to open shows outdoors, obviously to a limited audience at first but got up to 2,500 people last summer. And it was really the access that we can provide at the Waikiki Shell is unlike any other venue here. We can get kids into a lawn that seek 4,000 people and we can provide a much lower ticket price so that families can come. And for us, it was this real sense of place. I was talking to a lot of people that I was meeting my age who had young children. And they said, you know, I remember going to the Waikiki Shell with my parents and laying in the lawn and looking up at the stars and listening to the music. I want that for my kids. They want that for the next generation. And so for us, it was this sense of place which took us back to the Waikiki Shell last summer. And certainly the pandemic helped being outdoors and all. So then with this positive response from last summer, we knew that that needed to be something part of our season going forward. So we head to the Waikiki Shell the last weekend of May and we're opening it with literally rocks. On Friday evening, we'll be doing the music of Def Leppard and on Saturday, the music of the Rolling Stones. We have this tremendous, I don't even want to call them a cover band because there's so much more than that that joins the orchestra. Last year we did Queen and Led Zeppelin with them. It was the most fun I've had at a symphony in I'd say two years, but longer. And it was really, so we have that to kick it off. The next- Cover band, what is a cover band with an orchestra? How does that work? It works great. We have, again, they have charts that are arranged for the orchestra and for a lead singer who last year you could not tell the difference between Led Zeppelin and the cover band. He was so good. And it's just, again, the best backup band in the world. The sounds that our orchestra produces are just phenomenal. And to do it in an outdoor atmosphere where you can have a beer or two in your hands and enjoy the sunset as it reflects on Diamond Head and a real nice evening out. And so as we get into the rest of this Sherrits and Starlight series, we'll be doing a program of Hulse the Planets, which what better place than outdoors to listen to Hulse the Planets. And then the following week, Sarah Hicks, a wonderful, phenomenal internationally recognized conductor and happens to be a Pudahograd, will be returning to conduct Gershwin at the Waikiki Shelter. Of Gershwin. Ask me my favorite, David. Is your favorite Gershwin? Yes. And there was a Gershwin concert at the shell a few years ago that tore my heart out. It was so beautiful and looking at the stars. It was heaven, you know, because for me and others like me, it's very nostalgic. And Gershwin is really the man for me. Well, you won't want to miss this then because the Gershwin we're doing is the Piano Concerto in Aft. And we're doing it with this phenomenal pianist, Aaron Deal. He just gave a performance with Detroit Symphony last weekend that I've been reading some reviews about. He's a classical pianist, but he's also equally at home as a jazz pianist. He could slip into blue note just as easily. He could slip in in front of an orchestra and the wow factor of the performances at the Waikiki Shelter with Aaron and the Gershwin and Sarah Hicks conducting. It's going to be a memorable night. So let's talk for a moment about the Hawaii Opera Theater. My wife and I have followed the Hawaii Opera Theater since I've got a long time and I haven't mentioned how long it's been. And, you know, we know there's a relationship, a critical relationship between the orchestra and the Hawaii Opera Theater. And your fortunes are their fortunes and their fortunes are your fortunes. Can you talk about that relationship? Yeah, absolutely. I would be happy to. First of all, I admire the work that Andrew Morgan has done during his tenure here. He's came in at a very difficult time and there was a little bit of synergy between the two of us. He, we actually grew up in Chicago just about 10 minutes from each other. We're both good Midwest boys. And, you know, he and I recognize that our futures are tied to each other. We need a world-class orchestra here for the world-class opera that they're producing. And so we found ways of bringing our, the opera contract back under the Hawaii Symphony Orchestra. So those are our work weeks for our musicians and looking at how we expand that, you know, it's, he is someone that I will pick up the phone when I'm having a hard day and I know he will do the same for me. And it's really that resilience that we've built throughout the pandemic. And not just Andrew, but Kip Wilborn at the Minoa Valley Theater, Halona at the museum. Kimmy from the new executive director of the ballet. There's this group of us that has really bound together through the experience of the past two years. And it's a rising tide lifts all ships. The more these organizations can support each other and foster this relationship here of outstanding classical music, the stronger we're all going to be as an industry. Well, you know, a state that has great music is a great state. A community that has great music is a great community and it enters into our lives somehow, you know, go to one concert every few weeks or every month and it changes your life. Even the one experience, you know, you sort of learn something at a visceral level. Anyway, I wanted to ask you about the union because the relationship of the symphony and the union is also critical. And that's critical derivatively with the opera theater as well. And the relationship between the symphony and the opera with the union has been problematic. You talked about a hard times in 2010 when the symphony went bankrupt and all this and this is because of an argument with the union. And I wonder how you have fashioned that relationship and how will it works and how will it will work going forward? We have an excellent relationship, working relationship with the union, Jim Moffitt and our orchestra committee leaders. We have worked tirelessly throughout the pandemic to have their voice in all the conversations and the decisions that have been being made at the organization. I had mentioned before that my background is a musician. I was a union member in Chicago, was very involved in the union in Chicago and very much value the support and role that the unions play both our musicians union and IOTC play with our symphony. So we maintain that relationship going forward here and I'm hopeful that it remains a positive one. The conversations that we talk about organizationally is that we're a mission driven organization and that we're here to serve the community. And so going forward, that's how we work with our unions as well. We are a nonprofit. We have a fiscal responsibility to sustain the work we're doing going forward. That takes me to my next question actually. How do you support an orchestra? Because everybody knows that the performing arts, the gate does not provide enough funding to keep it going. You have to have funding from heavy funders, so to speak and the public too. But the gay alone is not enough. So how are you doing that? I recall some of the big names who were giving the orchestra lots of money. They're still around. Are you out looking for new ones? And how was your outreach? You know, Michael Tudor to know us about this. How was your outreach to the general public? Try to get them to make smaller donations and keep the orchestra going. Whether or not they attend the concerts. That's a great question. And I'm a fundraiser. I like going out and making these connections in the community. And we've had a tremendous amount of success, especially in fundraising over the last two years. We've almost doubled the amount of individual donors that we had with the organization prior to the pandemic. It was at an organizational low of under 600 and now we're well over 1200 with a few weeks, months left in our fiscal year. And what we talk about again, organizationally is that money follows mission. When we're doing good work and we're finding the educational opportunities, when we're finding the outreach opportunities, when we're able to welcome people to the Waikiki Shell in large numbers, the more people we serve, the more people that are going to become donors. And so that's very much how we're trying to organizationally build right now. We've had some tremendous large gifts support and our goal is to work to diversify who's giving to the symphonies so that relying on those one or two or three families that have been sustaining the symphony for decades now are not the sole source of income for the symphony. But the other side of this is that we need to rely more heavily on our earned revenue. We need to be selling more tickets. We need to be looking for the opportunities of doing recording, all of the films that are made here in Hawaii. Well, we could also be recording the audio here for those films as well. And so I think as we look towards the future, this idea of diversifying where all of our income is coming from, both contributed and earned, is going to lead to a more successful and a more fiscally responsible organization. Well, that goes to something that the opera has done. They've taken video and you can get on the video and look at the video and it doesn't cost very much. And you can see the opera, whether or not the opera is actually performing, sort of on demand. And I suppose, isn't it true, Dave? You could do that with the symphony too. Are you doing that? Yes, we are very much doing that. During the early months of the pandemic, we were, again, with our partnership with the Hawaii Theater. We weren't having audience, but we did a number of live broadcasts with our groups of musicians on the stage of the Hawaii Theater. And that, again, as you mentioned, provides a tremendous amount of access. We were able to be on all the islands without ever leaving Chinatown. And that led to other opportunities. So we had a program, actually, just this past December, when things were opening up and people could go to performances. But we ended up doing a filming in partnership with Hawaii News Now at Kauai Hau Church and worked with Kimi A. Minor and Anu Heia and the Hawaii Youth Opera Chorus and did a Christmas spectacular, as it was called, hosted by McKenna Meduli. And we were able to get thousands of people across the state through our Hawaii News Now regional broadcast and streaming on demand that it would take us weeks of performance at the Blaisdell or at the Waikiki Shell, even, to get that many people in front of our orchestra. So we'll continue to rely on that going forward. All the regs these days is learning about Eastern Europe. And one of the things that I love about Eastern Europe is the pop-ups. You'd be walking through a 16th century square somewhere. All of a sudden, there's a fellow who takes off his raincoat and he's playing the violin. And then somebody right next to him is playing another instrument. Before you know it, you're in the middle of an orchestra and they're playing in tearing your heart out. And very powerful stuff. I saw a video recently about an Italian grocery store where this happened. And they addressed all the musicians in grocery outfits, like they were servicing the food. All of a sudden, they started singing opera. It was quite remarkable. And the people in the grocery store were just so excited and happy to see this. And you knew that this process you were observing was wetting them and connecting them forever and ever to that opera, to opera in general and in this case, to orchestral music. So pop-ups, there was a pop-up downtown maybe three years ago, way before COVID. That was very popular, but you could see that it was an expensive, complex production in front of Bank of Hawaii. Do you have any plans to do pop-ups? Because if you do, I mean, surprise pop-ups, if you do, could you let me know where and when? Well, I don't think that would be a surprise, Jay. Thank you, thank you. Okay. We will certainly, that's something that we've been talking about. And I think what you're hitting at is the experiences outside the concert hall. And I think so much of the younger generation, it's not that they're not interested in classical music, they're not necessarily interested in passive experiences. And so being surprised and experiencing classical music in an unexpected place, I think is sort of what the appeal in the draw is. And as you said, we'll pull people in to this work that we're doing. And so, yes, there have been some very creative conversations around our organization about how we leverage that and find those opportunities, not just in Honolulu, but on the windward side, on the west side, on the North Shore, and on the neighbor islands as well. We've got 84 musicians for us to be able to spread them out into, again, impact as many people as possible, is at the core of what we're doing. You know, if you do tell me, I won't mention a word, but I will be down there with my camera and I will be taking a picture of this for the world to see forever and ever. Well, that's what it takes. And if anyone was at the show this past weekend, there were a few empty seats on Saturday, and I came out to thank our donors, thank our sponsors for the support. And I said, I want everyone to do something for me. I said, take out your phone. I know it's a classical music concert and everyone says, put your phone away, but I want you to take it out and I'm gonna leave the stage because I'd like you to take a picture of this orchestra. And at the end of the night, I want you to send it to two friends, post it on social media. You all in this concert hall and the people in this community that support the symphony are the ones who are our best advocates. So my encouragement is to go out there and share the good news about what the symphony is doing. We're here to serve this community with music and so I appreciate your work, Jay, to share that message, pop up or not. So, Dave, what about the future for the kids? I recall there was maybe still is a Hawaii Youth Orchestra. They were brilliant. They were wonderful. Their conductors and organizers were wonderful. I don't know if they still do it or how COVID has affected them, but they are the feeder to future generations of the musicians who populate the orchestra. How are they doing and are they available to you? Very much so. I, there are a handful of people that I have really come to admire very quickly here and one of them is Randy Wong, who's the president and CEO of the Youth Symphony. Randy is also one of our musicians in the orchestra. Randy is a phenomenal educator, a phenomenal musician and someone who is so driven as a community minded individual and the work that the Youth Symphony is doing inspires us a week in and week out and we have had the opportunities even during the pandemic here. We were able to do a side-by-side with some of those musicians for an Ohata holiday concert that we did back in December and we're starting to sit down and have that conversation about what it looks like next season and how we can do more. We both want to do more because education and these kids are the future of not only our orchestra, but people who support the symphony. Many of these kids are gonna go on to be doctors and nurses and lawyers and they're gonna be some of the best board members that we can recruit because they've had this experience with classical music. So I can't say enough positive things about Randy and the work that the Youth Symphony is doing. They've got a great board there and really, yeah, all for the Youth Symphony. That's great. Great to talk to you, great to hear all the vitality and it gives me the thought that this is a part of our reemergence. What you are doing is part of our reemergence from being under the sheets, under the covers with COVID and when we come out as we are coming out through your events, we will feel it. We'll feel the pulse of community. We will feel people coming together again. There is nothing like live music and it's just sharing experience to the guy next to you and that's what is going to happen and listening to you is really invigorating. I just wanna ask you, how do you think we've done today because for years and years, Jim Moffat waves to me when I come into the theater and he's very friendly and all that and I wanna know if we did okay, then he will continue to wave to me. If we didn't do so well, he's not gonna wave to me anymore. What do you think, Dave? I am confident that Jim will continue to wave to you and to me and will continue that great relationship. A lot of admiration as well for Jim and the work he's done for this orchestra and all of his colleagues in the orchestra. Okay, your opportunity to leave a message, a takeaway, if you will. Let's assume there are, oh, roughly 400,000 people out there watching this show. What would you leave with them? I would leave that the importance of art and culture, especially here in Honolulu and in Hawaii goes far behind, far beyond the work in the concert hall. And I think we're very fortunate right now to have local administration with the city and county and Mayor Rick and especially with Makanani Salah at the Mayor's Office of Culture and Arts that understand the economic importance of the work we're doing. We're a $2.6 billion industry, the opera, the symphony, all of the live entertainment here, the restaurants, the parking, all of that that supports this industry, that it is, if we learned anything during the pandemic, it's how we as a community need to diversify what we do. And the symphony is doing that in our mission and we'd like to see that in the diversification of our local economy here at the state level, at the city level. And so that's one of our big emphasis right now is that how do we become good neighbors in Chinatown with our partnership at Hawaii Theater? How do we lead to the re-energization of that neighborhood also around the Blaisdell and the Waikiki Shell? And when we bring our musicians to the windward side, who are we partnering with and how? So that's the message that I would leave. It's for me, it's not about Beethoven. It's about building community around this organization no matter what's being played on stage and doing so in a way that's reflective of this community here in Hawaii. Building community. Music is more than music, it's building community. Thank you so much, Dave Morris, Executive Director of the Hawaii Symphony Orchestra. Thank you so much. Thank you, Jack. Aloha. Music Thank you so much for watching Think Tech Hawaii. If you like what we do, please like us and click the subscribe button on YouTube and the follow button on Vimeo. You can also follow us on Facebook, Instagram, Twitter and LinkedIn and donate to us at thinktechhawaii.com. Mahalo.