Jason Black

When you meet Henry Kapono for the first time, you discover something like a bolt from the blue; he’s surprisingly soft-spoken and shy for a Grammy-nominated and Na Hoku Hano Hano award-winning musician.

So how does this chary, critically acclaimed crooner deal with the limelight of touring and playing live? That’s easy. He lets his tunes do the talking.

“Music is what makes me feel comfortable,” opines Kapono (the Hawaiian word for “righteousness”) Hosea Kaaihue, chatting in a Hawaii Kai neighborhood coffee shop near his home. “It’s what I use to communicate with people and I think that it works for me.”

With an esteemed professional career spanning 40 years, most notably, as one-half of the ’70s pop duo Cecilio & Kapono, he has become a household name throughout Hawaii and the Pacific. Actually, my generation grew up on their sun soaked blend of contemporary and folk rock with classics like “Friends” (1974) and “Sailin’” (1977). It’s no wonder. It’s through song that his true spirit of aloha shines through.

Yet, even with all this well-deserved success, Kapono remains an unassuming, humble island boy from simple beginnings. Born and raised in Kapahulu, a small town located just beyond the Waikiki Strip, the young Kapono spent a lot of time playing in the neighborhood, going to the beach and hanging out with his family and playing music. At age five, he began singing in a children’s church choir. Then, his dad—who he tips as a big influence—taught him how to play ukulele. From there, he fell headlong for the sound of the guitar when a friend showed him a few chords. The rest is manifest destiny.

Nowadays, Kapono’s enjoying raising his family (including wife Lezlee and six-year-old twins Kapono and Cassandra) while playing close to home in the same neighborhood where his started his professional career. So what does he like most about serenading in his old Waikiki stomping ground? “I like the ambience of Waikiki,” he affirms. “I grew up there so I feel at home. I used to walk to the beach with my dad all the time. It’s definitely got its own distinct personality.”

At the moment, you can catch this legendary singer/songwriter at his regular weekly gigs at Hilton Hawaiian Village. Audiences love his acoustic, “feel good” vibe at Tropics Bar & Grill on Saturdays from 4:00 to 6:00 pm.

Kapono says that he’s been doing the five-piece Hilton show over the past two to three years and pulls a diverse mix of visitors and locals alike. It’s an idyllic end to a fun-filled day in paradise. “I try to keep it laidback and casual. You’ll feel like you’re in the tropics. Mostly, I want fans to feel good, so I mix it up and drop in some cover tunes, too.”

Tonight is Monday night in Waikiki, usually a low key evening on the Kapiolani Strip. Upstairs at Tiki’s Grill & Bar, however, a playful pau hana crowd is just starting to filter in. As the sun sinks beyond the horizon, the entire space is bathed in the crimson light from a procession of red paper Chinese lanterns. Signature mai tais begin to flow as the large curved tiki-themed bar fills up with parched patrons. And the band, donning matching green-and-white tapa print aloha shirts, strikes up their opening set.

After a rousing opening number, Jassen Tolentino, one third of Tiki’s regular Monday night house band Canoes 4 Rent comes over the PA to welcome everyone to the show reminding them: “Please no requests! Save it for the next band,” he chuckles. “We apologize in advance for any inconvenience.”

Over the past two years, this trio of ukulele player Albert Makanani, uke/guitarist Duane Ing, and guitar/bassist Jassen Tolentino has been playing Mondays from 6:30 to 8:30 pm. As they describe it, their two-hour set offers an eclectic mix of popular music including country, R&B and even some Hawaiian music standards. Some repertoire highlights include Bob Marely’s “Good Lovin’”, John Cruz’s “Shine On” and The Eagles “Best of my Love” as well as “uncle” Carlos Santana, the Temptations and a country medley closing with actual yodeling. YeeHAW!

“What we like most about playing each and every week in Waikiki is that we get to meet tons of new, interesting people,” affirms Tolentino. “On Mondays, we always get a good mix of local regulars, visitors and even vacationing couples that return to see us year after year. It’s cool.

Originally, the guys randomly met while attending Windward Community College. One day, they realized they shared music as a common interest and decided to jam together. “I didn’t know it at the time,” recalls Tolentino. “But I was auditioning for the band.” Apparently, his “audition” was trial-by-fire because together, they played a wedding that very weekend.

The band’s moniker itself was also kismet. “Years ago, there was a sign on my wall that simply read: Canoes 4 Rent, 10 cents,” recalls Ing. “Somehow, it just stuck.”

“People still call us up and ask us if we rent canoes, or what?” he adds with a rye smile.

No ten cent canoe rides here, just musical journeys that rush and roll like a river.

Row your boat…gently down the stream.

The sweet, signature scent of plumeria wafts through the air as her long dexterous fingers dance along the ‘ukulele fretboard like sunlight playing across the rolling ocean waves. At the moment, 23-year-old ‘ukulele phenom Taimane, accompanied by classical guitarist Jasmine Skurtu, are jamming through a 20-minute medley of classic 1960s surf music including Dick Dale, The Ventures, a smattering of Japanese pop, and, finally, the classic Ventures’ 1969 hit “Hawaii Five-0” as a finale. While strumming, she passionately sways back and forth like a wild palm standing barefoot in a loose black jumpsuit while closing her eyes and, at times, losing herself in the music.

Out in the comfy, open-air SWIM Bar, it’s a challenging listen for the merry mix of residents and visitors. But the crowd pays close attention to the cascade of chord changes while enjoying a radiant Waikiki skyline and their happy-hour drink of choice: the Mai Tai.

Later, after her looping roller-coaster hour-long set, it’s clear how much she relishes playing here at the Hyatt Regency. Over the past five years, it’s been her home and it shows. She’s poised.

Confident. Comfortable. “This was my very first show where I got to play for an hour,” remembers Taimane, smiling of her start. “That was a big deal for me at 18. And now, it feels like it’s my living room where I can try out new things. I always enjoy seeing familiar faces of both visitors and locals who always come back.”

It’s no wonder she’s so at ease performing for massive, ever-swirling crowds in Waikiki. She’s been doing it for almost her entire life. Born and raised in Hawai‘i, Taimane (whose name means “diamond” in Samoan) started strumming at the tender age of five. A year later, she won her first youth contest. By age eight, she was a seasoned professional, standing out on world-famous Kalakaua Avenue, entertaining visitors and locals passing by on the street. The busy concrete strip became an early proving ground for this blossoming musician.

Actually, that’s where she met her destiny. One of Don Ho’s close friends saw her performing and invited her to meet the famous Hawaiian entertainer himself. He liked what he heard and incorporated her into his regular show.

First, she contributed one song, then two. Soon, she was winning the crowd over with her youthful exuberance and stealing the show with her ample ability. She was a natural. But she’s quick to point out that she owes a lot to her talented uncle. “He taught me how to connect with the audience,” she fondly recalls. “It’s really shaped the way I perform and knowing which songs will work.”

In addition to her weekly Friday evenings at SWIM, you can catch Taimane and her magical uke at the Hilton Hawaiian Village, the Royal Hawaiian Hotel and other select venues throughout town. At her show, she favors a broad spectrum of music including Led Zeppelin, Pink Floyd, Beethoven, Brazilian bossa nova, Phantom of the Opera flourishes, and even Spanish flamenco music. Taimane is quick to point out that her playing owes much to flamenco’s energetic, staccato style. “It depends on what kind of mood I’m in. But I’ve grown up playing in Waikiki so I know what works. My audience loves songs that are recognizable and familiar to them.”

Her talent has also afforded her the unique opportunity to travel abroad extensively. A few recent destinations include Japan, Canada and New York City. And she jets to the neighbor islands all the time for performances. Next up, she’s off to the mainland for the annual San Diego Uke Festival. “I really enjoy traveling because it’s always an adventure. But I always love to return home to Hawai‘i and my family.”

As if her rigorous touring schedule weren’t enough to keep her occupied, she recently signed to local label Mountain Apple Records to produce her recently released album ‘Ukulele Dance and its companion DVD. The album is filled with half original material and half popular covers. Lately, she’s even been writing songs for each planet in the solar system for a special performance entitled Taimane’s Universe in Chinatown, Honolulu’s emerging local arts and entertainment district. “I have a couple original songs. I enjoy doing more visual music and having a theme when I play. It’s fun and challenging to put a story to it.”

For Taimane, it’s clear—the best is yet to be written.

It rose up out of the ocean like a god. Like clockwork right at sundown, it came up out of the water on the horizon full and round and luminescent just to the left of the twin Mokulua Islands. Breathtaking.

Every month, Kailua residents flock like lemmings to Lanikai Beach for the rise of the full moon. Apparently, it’s a regular ritual on the Windward side of the island. And I can see why even though it’s something I never heard about before. It’s so beautiful and primal and transcendental. In other words, perfect.

As I stroll down Mokumanu Street toward the water, there’s a solemn feeling in the air and the smell of salty sea spray fills my nose. Cars pull up and park along the roadside. As I walk by, a whole entire family—three generations strong—hop out of a classic Wagoneer with dusty folded beach blankets in hand. Someone grabs grandpa’s hand and helps him along. He’s committed but he can’t move so well anymore. And I thought, “This is really cool.” This is something that they’ve probably done together as a family for decades. It’s one of their traditions: a treasured memory.

When I got to the beach just after 6 p.m. I was virtually alone. It was nice and quiet, just the way I like it. There was just the wind and the surf and I. Then, slowly, a few families started to trickle in from the street through the overgrown beach access trail. After awhile, there was a sizable crew of adults, and a wild, swirling herd of kids who were running around the beach playing a version of tag they’d just made-up. Or something.

Then, at about 7 p.m., it was Showtime. Right on schedule, the clouds parted like a red velvet theater curtain and the moon stepped out unto the stage of the twilight sky. It was glowing like magic. Suddenly, it seemed like everything around me slowed and stopped. Time seemed to fold in on itself while we were gazing skyward at the full moon. I didn’t even dare to blink, lest I would miss a moment. It was magnificent. (Words fail sometimes.)

As the night wore on, the adults clustered together in small tight-knit groups commiserating with a beer or a glass of red wine in hand while the kids ran around the beach in a pack with green or purple glow-sticks on their wrists. What a great idea! (Although I suspect that it was as much about the kids having fun as it was their parents being able to find them again in all that starry darkness.)
It was a great night.

Finally, after a few hours of fun, it was getting late. There was a yawn or two rolling through our group. One of the kids ran up for a hug and started to rub their heavy, tired eyes. It was time to pack up and get ready to go. Of course, no kid would claim that they ever wanted to leave. NO MOM NO! And why should they? To them, this summer night was paradise. They got to stay up late, eat pizza, and run around with their friends all night. But it was time for home and brushing and bed.

As we were leaving the beach, my friend took one look at me and stated the one thing we were all thinking: “Look at them. They don’t know how good they have it here.”

“True,” I said. “But they will someday. And they’ll remember it, this night for the rest of their lives.”

And I believe that’s true, too.

1. Gary Clark Jr. — Blak and Blu (Warner Bros.)
2. Michael Kiwanuka — Home Again (Interscope)
   
3. Jack White — Blunderbuss (Third Man/Columbia)
4. Alabama Shakes — Boys & Girls (ATO)
5. Tame Impala — Lonerism (Modular)
   
6. First Aid Kit — The Lion’s Roar (Wichita)
7. Twin Shadow — Confess (4ad)
   
8. Frank Ocean — channel ORANGE (Def Jam)
9. Kendrick Lamar — Good Kid: m.A.A.d. City (Interscope)
   
10. Grizzly Bear — Shields (Warp)

Tahiti Rey and Jason Alan are the perfect acoustic accompaniment to a serene Hawaiian sunset.

On a balmy, breezy May evening, it’s golden hour at the Sunrise Pool Bar at the laid-back, chic Waikiki Modern Hotel. At the moment, there’s a smattering of hotel guests and residents enjoying pau hana as they cluster around some small tables poolside. A light, warm trade wind blows across the cement and wooden bar while out, on the horizon, the moored ships in the nearby harbor sway gently side-to-side.

Under an overhanging canopy of blossoming Miami pink bougainvillea, Tahiti Rey and Jason Alan are strumming the opening chords of Colbie Caillat’s 2007 hit “Bubbly.” As they hit the chorus, a young hapa girl in a kid’s plastic green hula skirt runs up and begins doing a mock hula while they play. Everyone laughs and smiles at this genuinely heart-warming scene.

Rey and Alan’s mix of contemporary acoustic soul and intoxicating two-part harmony is the perfect romantic accompaniment to sipping a signature Modern cocktail and taking in a sunset at the start of another memorable evening in paradise. Tonight’s audience is feeling it too with rounds of warm applause in-between their heart-felt renditions of Taylor Swift’s “You Belong with Me”, Bob Marley’s “Good Lovin’”, U2’s “Still Haven’t Found What I’m Looking For”, and Elton John’s “Tiny Dancer” as well as a few well-timed original tunes including “Give Me Butterflies.”

“I think our audience finds us because we offer them an alternative to the usual Waikiki entertainment,” affirms Jason Alan, one half of the dynamic duo between their hour-long sets.

As the story goes, the two met about a year ago through a producer they both had in common for their respective solo projects. The chemistry was right and they’ve been playing side-by-side ever since. A quick peek at their monthly gig schedule will show you that offering an alternative in Honolulu for visitors and residents alike is paying off big time.

Each week, Rey and Alan run the musical gauntlet playing at the Modern, the Hyatt, Tiki’s Bar & Grill, Apt. 3, and the Mai Tai Bar among other local hot spots. On some nights, they’re double-booked with shows at two different venues in a single night. And, most weekends, they’re captivating audiences at private events and weddings around town. So, with their hectic, non-stop gig schedule, how do they keep it fresh night-in and night-out?

“What we enjoy most about playing out in Waikiki is meeting new people,” says Rey, who was born and raised in Kailua as the talented youngest daughter of notable local Latin entertainer Augie Rey.

Alan, who originally hails from Phoenix, Arizona, agrees: “We’re lucky that we get to play for people every night and it’s helped us define our own style.”

As we speak, the two are in the process of defining their stripped-down, authentic sound even further by writing and recording their first album together. And, Rey says, they’re finding that process very challenging.

“We’re working hard to try and figure out what we want to say,” concedes Alan.

So, if you’re lucky enough to catch these rising stars out by the Modern’s Sunrise Pool Bar on Wednesdays, inside at the Lobby Bar on Friday nights or at a local event over the weekend, what can you expect from their show? That’s simple: Pure soul.

 “Our audience can expect songs we love in a passionate way,” responds Rey.

 “It’s easy when you love what you do,” chimes in Alan. “And I think that comes through in our show.”

Craft tequilas are stirring up a lot of excitement Stateside.

Tequila is a true chameleon in the spirit world. So versatile, it can blend together with a multitude of flavors to give you a pucker punch in the palate. The taste combinations are virtually endless; from the tangy sweet and sour of a classic top shelf margarita to the bright citrus of a grapefruit, passion fruit or guava refresher to the spicy kick of a three-alarm habanero chili hangover cure. Beyond the shady environs of the cocktail glass, fine tequila sheds its camouflage and steps out into the sunlight to be admired and enjoyed for all of its complexity and rich, layered flavor.

Now, when you think of tequila as a category, consider it in the same way you would champagne. It is the name given to a distilled spirit specifically produced in the western Mexican state of Jalisco, in the area surrounding the city of Tequila, Mexico. Today, 380 million agave plants are harvested in that region each year and the plants take about 5 to 9 years to mature. As a spirit, tequila is also differentiated by the fact that it only uses the blue agave plant for production.

In general, a craft or “small batch” 100% agave tequila is defined by the industry standard of producing 50,000 cases or less. At the moment, popular brands like Patron and Don Julio own the lion’s share of the craft tequila market. Others produce less than 20,000 cases a year. And some, considered to be super tequilas, produce between 5,000 and 10,000 cases a year. But, regardless of the production numbers, the true test for any craft tequila is taste.

“The real difference between craft and mass-market tequilas is linking the raw material to capturing quality flavor in the bottle,” opines Jake Lustig, head of Mexican brand Las Joyas del Agave. “More agave pungency. More complexity. More minerality. Distilling the agave mash at a slower rate. All of this extra labor-intensive effort retains more of the purity and flavor of the spirit in the final product.”

“The best tequilas out there at the moment are the ones that are made from one brand, one distiller, and represent one distinct taste,” affirms Ryan Fitzgerald, Director of Spirits and Cocktails for Beretta Pizzeria and Bar, a craft cocktail hotspot in San Francisco’s Mission District. “They’re focused on flavor profile, heritage and family to create real authenticity in their tequila.”

“Generally speaking, craft spirits like tequila are growing in popularity due to the whole farm-to-table movement,” says Chandra Lucariello, Director of Mixology for Southern Wine & Spirits in Honolulu. “Consumers want to support local, and just like the local farmers, the local distilleries produce limited quantities of product while putting their heart and soul into it. Most of these distilleries aren’t in business to get rich. They are in it because they love what they do, and the public can see and taste that in the glass.”

Since tequila’s distillery process is as complex and varied as modern winemaking, tasting is paramount to finding that one perfect tequila you’ll love and enjoy sharing with friends and family. In general, premium 100% agave tequilas fall into four basic categories: Blanco (or silver), reposado, anejo and extra anejo. Blanco is un-aged and bottled or stored immediately after distillation, or aged less than two months by law in stainless steel or neutral oak barrels. Reposado (meaning rested) is aged in oak barrels for a minimum of two months, but less than a year. In addition to the sweetness of the agave, the tequila takes on the more complex flavors of the oak. Some distilleries even use recycled bourbon barrels, some new and many reuse their barrels. All these factors contribute to a wide spectrum of wonderful flavors. Within Mexico, reposado is the most popular category of tequila. Anejo, (aged or vintage) is aged for minimum of one year, but no more than three. These golden tequilas, as they’re called, represent a variety of complex flavors and textures. And, since 2006, extra anejo has been added as the newest category and is aged for three years or more. As you’d expect, these are the most rare and expensive tequilas on the market. Like wine, aging tequila transforms the taste in the mouth, mellowing the heat, adding complexity and highlighting desirable signature notes like oak, caramel, butterscotch and vanilla.

Unlike tequila that can only be produced in Jalisco, mescal is currently being produced in seven of Mexico’s 31 states. Yet, the most respected ones come from the southwestern state of Oaxaca due to its longstanding tradition, perfect climate and mineral rich soil. Since there are over 28 varietals of agave plants, mescal also has the distinct luxury of experimenting with other types of agave beyond the renowned blue agave that’s used only in tequila. In terms of overall market share, mescal is still in its infancy as the 1% to tequila’s controlling 99%. Beyond the business, mescal is exciting because it offers some interesting and unexpected mouth flavors. From brand to brand and batch to batch, mescal can be wildly different.

Richard Betts, co-founder of Sombra Mescal, has been making his own mescal since 2006 and is a big believer in this spirit’s promising future: “Mescal is the mother of all tequila. It’s the most authentic taste of old Mexico. When you want to go and drink the essence of this spirit, you should go and drink mescal. It’s the truth.”

Las Joyas’ Lustig agrees: “It’s a very exciting time because there are a lot of possibilities for different tastes. Currently, there are no rules in mescal. We’re doing it all by intuition. What you get is amazing variations between batches from one producer and between various producers throughout the Oaxaca region. There are lots of nuances between the bottles and there’s plenty of amazing, incredible variation in styles. It’s truly the Wild West at the moment.”

As our agave aficionados point out, the first thing to consider when selecting fine tequila (or mescal, for that matter) is simply, are you planning to mix it up in a classic cocktail? Or, are you destined to sip it on the lanai while contemplating life like a fine single malt scotch?

Expert Jake Lustig recommends: “Look for a value 100% agave tequila for mixed drinks. You can make real authentic margaritas with the right amount of heat that will penetrate the sweet and sour of the mix.

Similar to wine, when you’re sipping tequila, try some from different regions and find one that you like. There will definitely be others from that same region of Mexico that you’re sure to enjoy.”

“Tequila has so many distinct flavors that it tailors itself to making great cocktails,” says Beretta’s Ryan Fitzgerald. “You can do so many great things in the glass with it. I like to introduce a bit of mescal into my tequila cocktails to add some smoke to it. Remember, just because a drink has tequila in it, doesn’t necessarily mean it’s a margarita.”

In the end, you don’t always have to drink tequila. But when you do, make it quality, craft tequila. Stay thirsty my friends.

Taimane Gardner and her Ukulele

There are two distinct sides to twenty-three year old ukulele phenom Taimane Gardner. One is the sweet, demure, soft-spoken young lady who’s currently sitting and chatting inside a local Kaimuki neighborhood coffee shop. The other is a true force of nature on stage blasting through twenty-minute medleys of Pink Floyd, Led Zeppelin and The Beatles without batting an eyelash.

“I’ve always been comfortable on stage,” she concedes. “Since I was about 15, I don’t ever remember being nervous before a live audience.”

It’s no wonder she’s so comfortable performing for others. She’s been doing it for almost her entire life. Born and raised in Hawaii, Gardner (whose name means “diamond” in Samoan) started strumming at the tender age of five. A year later, she won her first youth contest. By age eight, she was a seasoned professional, standing out on world famous Kalakaua Blvd. entertaining visitors and locals passing by on the street. The busy concrete strip became an early proving ground for this blossoming musician.

Actually, that’s where she originally got discovered. One of Don Ho’s close friends saw her performing and invited her to meet the famous Hawaiian entertainer himself. He liked what he heard and incorporated her into his regular show. First, she contributed one song, then two. Soon, she was winning the crowd over with her youthful exuberance and stealing the show with her ample ability. She was a natural. But she’s quick to point out that she owes a lot to her talented uncle. “He taught me how to connect with the audience,” she fondly recalls. “It’s really shaped the way I perform and knowing which songs will work.”

Currently, you can catch Gardner and her magical uke at the Hilton Hawaiian Village among a few other select venues around town. At her show, she favors a broad spectrum of music including Led Zeppelin, Beethoven and even Spanish flamenco music. Actually, she’s quick to point out that her playing style owes much to flamenco’s energetic, staccato style. “It depends on what kind of mood I’m in. But I’ve grown up playing in Waikiki so I know what works. My audience loves songs that are recognizable and familiar to them.”

Beyond Waikiki, Gardner also enjoys playing in Chinatown, Honolulu’s emerging local arts and entertainment district. “I love playing down there because it pushes me to experiment with new directions. Local audiences tend to want more original material.”

Her talent has also afforded her the unique opportunity to travel abroad extensively. A few recent destinations include Japan, Canada and New York City. And she jets to the outer islands all the time for performances. Next up, she’s off to exotic locales like Thailand, Paris, France and Australia. “I really enjoy traveling because it’s always an adventure. But I always love to return home to Hawaii and my family.”

As if her rigorous touring schedule weren’t enough to keep her occupied, she recently signed to local label Mountain Apple Records to produce an album as well as a companion DVD. She’s planning on it consisting of half original material and half popular covers. “I have a couple original songs. I enjoy doing more visual music and having a theme when I play. It’s fun and challenging to put a story to it.”

For Gardner, it’s clear the best is yet to be written.

Fixed gear fanatic Massan Fluker rides with an angel on his shoulder.

Massan Fluker rides like he’s got a death wish. The 31-year old fixee flyer bombs down steep hills, outmaneuvers city buses and snakes through bumper-to-bumper traffic with ease. It’s clear he’s got a passion for pedaling that sometimes puts him in harms way.

Recently, he put his own life and limb to the test by bombing the treacherous Berkeley Hills. As the story goes, he went up there at the crack of dawn around 6 a.m. and filmed a few establishing shots at the top. Then he and the cameraman set-up the hood-mount and took a few runs to test out his gear.

Captured online for all to see, the final footage of that fateful ride is unbelievable. At one point, Fluker actually climbs up on the seat and sticks his trailing foot off to use as a brake on the back tire: “It was definitely one of the fastest runs I’d ever done,” he recalls of the do-or-die decent. “I’m really grateful that we got it on film because I don’t think I’ll be doing that on a track bike anytime soon. I want to go back on my road bike and see how much more speed I can get.”

Since he’s been riding his whole life, this Bay Area native makes impossible rides like this insane down Centennial look basic. But, as he points out, he first climbed aboard a track bike about 11 years ago. And, from there, he’s never hopped off. “Growing up in San Francisco put me onto track bikes. Once I realized what it was and that it wasn’t so easy to just ‘pick up’, it made me want to get one more. Track bikes are really elegant machines, so I was also attracted to the bike, not just the riding.”

As you’d expect, the Bay Area fixed gear scene has changed greatly over the years. Like most groups, it began as a hardcore bike messenger town and, in recent years, has blossomed into all facets of modern ride culture: hill bombing, distance, freestyle, and beyond. “The entire fixed gear scene has evolved greatly as a whole. More people are riding bikes because more people are exposed to it.”

He adds: “My favorite style of riding is simply ‘riding bikes.’”

Recently, Fluker made the move from his hometown of San Francisco to Brooklyn to ride more and focus on his own photography. Actually, when we spoke, he had just got back from a collaboration art opening of his work with a friend over in Japan. So, in his mind, how do the East Coast and West Coast scenes compare?

“There’s way more people in New York compared to San Francisco. As a result, there’s also way more cyclists in Manhattan. In San Francisco, the community is small but strong. In New York, there are four or five communities in one.”

Strangely enough, when he’s not riding, Fluker enjoys walking around the city and taking it all in. It’s his way to relax and recharge. “A cup of coffee and an Apple iPod with good walking shoes can make for a great day, especially in New York.”

Creatively, he’s inspired by everything around him: the city, photography, movies, and friends. And, of course, he is continually inspired and passionate about expressing himself through riding: “I don’t really think about it that much, but if I were to stop riding, it would be a total change of lifestyle. I’m just used to doing what I’ve been doing. I still love it.”

Life is a wild ride. So what’s it like to ride along with him through the mean streets of the city at midnight? That’s simple.

“I like to lurk.”

You have yours. I have mine. Here they are in no particular order:

1. Fleet Foxes — Helplessness Blues (Sub Pop)
2. Bon Iver — Bon Iver (Jagjaguwar)
3. Iron & Wine — Kiss Each Other Clean (Warner Bros.)
4. PJ Harvey — Let England Shake (Vagrant)
5. Atlas Sound — Parallax (4AD)
6. Toro Y Moi — Underneath the Pine (Carpark)
7. Radiohead — The King of Limbs (Ticker Tape)
8. Feist — Metals (Polydor)
9. Adele — 21 (XL)
10. The Black Keys — El Camino (Nonesuch)