10. Papa Tony Tamba, Wainiha, 1976
A kalo farmer in neighboring Wainiha Valley, Papa Tony often hired campers to work his lo’i. As the camp’s infamous water woman, Bobo Bollin, says in The Edge of Paradise, “Back then it was hard to earn money. You could be a taro farmer, or a taro farmer.”
That was until the campers started growing marijuana. Almost everything about the hippies was anathema to the locals. Everything but one thing: taro farming was always a struggle, and, like other rural locals, some of the deeply conservative farmers teamed up with their young “indentured servants” to grow pakalolo (“crazy grass,” i.e. marijuana). These young haole might have been dumb, but they did have a crop that made sense to these traditional hardheaded sons-of-the-soil. While some local farmers with connections to the Honolulu mafia (usually those supplying cocks to the fighting pits on Oahu) had grown pakalolo before the hippies arrived, these young haole introduced new, more potent, and higher-yielding varieties, along with scion propagation that guaranteed seedless hermaphrodites, and an almost limitless Mainland market. Previously struggling local farmers and ranchers were soon buying new trucks and tractors and making trips to Las Vegas.
Archival 19 x 12.875-inch inkjet photos printed on 22 x 17-inch Hahnemühle Photo Rag Baryta—a pure100% Cotton Fine Art paper, acid and lignin-free, with the classic look of analog darkroom prints. Each photograph is spray-coated to meet the most exacting archival requirements—sealing the print surface and protecting the photo from dirt, fingerprints, moisture, fading, airborne contamination, and ozone damage.
1. Crescent RagMat window mat and backing boards.
Crescent’s 100% Cotton RagMat Museum Solid C1153, with image border reveal of 5/16-inch top and sides with 7/16-inch bottom for title, date, and signature. Mat revealed (after framing) 4-inch top and sides and 4.25-inch bottom.
2. Mounting and Framing Procedures
Polyester film mounting corners approved by the Library of Congress. Studio Molding, #3345 Madera Grey frame, rabbet lined with conservation sealing tape. Mounting procedure is reversible. Finish dimension is approximately
30 x 21.5-inches. Framing process meets all Library of Congress Conservation Standards.
Non-glare, UV protective shatterproof acrylic Tru Vue Museum Glass.