Benny Rietveld


Benny Rietveld’s first experience playing music was at the age of six, in the piano department at Gem’s in Kapalama. “I liked the idea that you could press something, and it creates this…cool sound,” Rietveld remembers. He was mentored by band director Henry Miyamura at McKinley High School, and played in local jazz and rock bands before moving to San Francisco and touring with Sheila E. and Miles Davis. Today, Benny Rietveld plays bass for Carlos Santana, and still sits in with the Hawai‘i musicians he grew up with.


This program will be rebroadcast on Wednesday, Oct. 14 at 11:00 pm and Sunday, Oct. 18 at 4:00 pm.


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Do you think music is more than just fun?


Totally; yeah. Music is powerful, music is magic. It allows us to do so many things invisibly. You can put it in the background, you can have it in the foreground, you can stop, start. You know, it’s always there, and it helps you celebrate things, it helps you mourn. It drives people to battle, you get married and you can create babies with it. It transports you, it reminds you of things in your life, just hearing something. Like, oh, my god, you know.




It’s an incredibly powerful force, and it can actually change people’s lives, you know. And that’s why I think musicians have a really big responsibility to just keep on point, keep being mindful, keep getting better, showing up. Because it’s a really powerful thing.


Benny Rietveld, who still calls Hawai‘i home, is the bassist and music director for Santana, a band he first heard when he was a young boy growing up in Honolulu. He’s been recording and touring with Santana since the 1990s, and he’s also known locally as a member of Topaz, a jazz fusion band that he and his high school friends had in the 1970s. Benny Rietveld, next, on Long Story Short.


Long Story Short with Leslie Wilcox is Hawai‘i’s first weekly television program produced and broadcast in high definition.


Aloha mai kakou. I’m Leslie Wilcox. Benny Rietveld has recorded three albums with the iconic Latin rock band Santana, including Supernatural which became a worldwide sensation when it was released in 1999. Rietveld was born in Holland to parents of Dutch, French, and Indonesian ancestry. They moved their family to Hawai‘i when Benny was three. He grew up in Honolulu, where he started showing musical talent at a young age.


I took piano lessons when I was six.


Why did you take piano when you were six? Now, that’s early. How did that happen?


Remember Gem Store on—well, I don’t know …




Yeah; in Kapalama. Yeah. Well, we used to live in Kalihi, and so we’d go through there, and it was always the piano section, and I was always plinking on the piano, you know. And my mom thought, Oh, he’s musical. You know how kids, you know, they hit a hammer, and it’s like, Oh, he’s gonna be a carpenter when he grows up.


But were you plunking better than most kids, do you think?


I don’t think so. I just liked it. I liked the idea that you could press something, and it creates this cool sound. I think. That’s how I remember it. And then, so we got like a little piano, upright piano, and she gave me lessons at Palama Settlement. And I think the first teacher was named Mrs. Leong. I think. But I didn’t really like ‘em. And I was like, Oh, really? You know, really like boring music, and River keep on rolling. You know. I just didn’t get it. And then, when was ten, we still had the piano in the, you know, attracting dust. And then, the song Hey Jude came out from the Beatles, and it had that cool piano intro. I was like, wow, that’s cool. I was like, wow. And then, oh, it’s sort of like that instrument that’s in our living room. So, I was like, huh. And it was really easy for me, and it was really fun. So, I thought, well, this is great, I’m gonna keep doing this. You know.


Then you learned other songs.


And then, I learned the entire Beatles catalog, practically.


By yourself, or with a teacher?


No, no; by myself. Yeah. You know, then I was hooked. And it was like, this is fun, I don’t want to do anything else. And I was just on my way. And then, I met my cousin, the guitar player in Topaz, or calabash cousin, actually, Fred Schreuders. And he was slightly older than me, but he was already playing music. He was, you know, playing guitar, and his dad also played music. So, I was like, wow, cool. And we met, and we jammed, you know, tried to play songs together.


You were on the piano?


Yeah; and then, I branched out to drums, and then a little bit of bass. And then we started, you know, playing. Hey, let’s do a band, you know. And so, yeah, we put together a band. So, when I was about twelve, I was playing in these dances at, you know, Star of the Sea.


And that was kind of the beginning of that. So, you know, I met the guitar player for Topaz way back then.


You were just picking it up as you went.


Yeah; yeah. ‘Cause it was easy.


And you were playing for high school dances at age twelve, or middle school dances?


Yes; yeah. My parents were really worried. ‘Cause there were some situations where sometimes we’d play a party, and and more like a high school kids’ party. And so, there may have been some illicit drugs.


And it was nighttime.


And it was nighttime.




Yeah. So, my parents, you know, lost a lot of hair.


And you gave them reason to.


A little bit. But, you know, I wasn’t that wild.


And where were you on instruments? ‘Cause right now, you’re a confirmed bassist.




How did you pick the bass, or did the bass pick you?


Well, yeah. This is the joke. Usually, the bass picks you. It’s usually because you don’t know anyone else who plays the bass. So, you’re like, oh, you play the bass. So, what happened to me was, I was playing drums in this little dance band, and our bass player left. So, we didn’t know any other musicians, but we knew one drummer. So, it was like, well, what do we do? You know, so we’ll just get him, and you play bass. So, that’s how it happened. But I kept playing guitar with Joe the Fiddler, because, you know, it worked better for chords and stuff, and I kept up on piano playing. You know, I just like always was interested in all of that stuff. But you know, I started getting kinda good on the bass, which is easy to do.  Yeah; so that was that. It just happens like that, you know.


What schools did you go to?


I lived in town mostly, and I went to McKinley High School.


You had a band director who is legendary.


Yes, legendary; Henry Miyamura. He’s like one of the big musical mentors of my life, and of Noel’s life, and of Allen Won’s life, too, the other guys from Topaz. He was … amazing. He was like that Mr. Holland guy. I mean, just deeply, deeply committed to the real essence of music performance, which goes beyond, you know, the notes and stuff, but the actual conveyance of the emotion or of the story, or of the tragedy or comedy, or whatever. And to get a bunch of high school kids, half of them who weren’t really gonna go into music anyway, or most of them, and get them to sound as good as he got those bands to sound was really a remarkable feat.


How do you think he did it?


I think he really loved music, and he loved people. He knew how important it was, you know, even if we didn’t. You know, we were kids then. He knew.


While Benny Rietveld was busy playing music through high school, his parents were thinking about his future. They didn’t consider music to be a suitable career path. But Benny was already doing what he loved, and it wasn’t long before his talents took him from the local venues in Hawai‘i to a larger stage.


Did you decide consciously, I’m going to be a musician as a livelihood?


I don’t think so. The only time it was a conscious thought was like as, you know, graduation from high school was imminent. Then my parents were like, So, you know, what are you gonna do? You’re gonna go to trade school? You should go to trade school, because you know, you learn a trade and make a lot of money. I guess they didn’t see me as the scholarly type, which I wasn’t.  And I said, Oh, I’m just gonna play music. I just assumed I was.


Were you already getting paid to play?


Yeah, yeah. Yeah. Just like, well, I don’t know. You know, I just thought I was gonna be a musician. And they went, What? No, you can’t. And they were very upset for a little while, only because, you know, they just saw their child being an intravenous drug user and being in the gutter, and you know, whatever. So yeah, I totally get why they freaked out. But then after a while, they thought, Well, he seems to be doing okay, and he’s playing, you know.


And you went to college right after that, here.


Not right after, but yeah, I did.


Oh; so you graduated from high school.


Graduated from high school. I was living on my own. I think for about a year, I was living on my own, then I got a scholarship for UH, through Mr. Miyamoto, who suggested I do that. So, he championed me as far as getting a scholarship.


And didn’t graduate.






‘Cause I was also playing music, and then I got a road touring gig with The Crusaders. It was very short. But with all my other gigs in Hawai‘i, and then going off to the mainland for a little bit, just like I lost the whole momentum.


How did you make the transition from having lived almost all of your life in Hawai‘i, to the mainland, to the continent?


With scarves and heavy sweaters. Basically, that’s how I made the transition. I went to San Francisco first.


And that was, I’m going to go try my luck in the San Francisco Bay Area?


Well, because I had a friend there already. And he said, You gotta come here, there’s a lot of good music there. And there was, at the time. Lots of great musicians there.


You played with some biggies, fairly early on.


No. I mean, I don’t know. Pete Escovedo, you know, I learned a lot from him. Ray Obiedo, you know, he used to play with Herbie Hancock and really good songwriter. And a lot of really great local San Francisco Bay Area musicians.


When was the first time you played with someone that you went, Whoa, I’m with so-and-so, I’m intimidated?


Well, sort of like Sheila E, because her producer was Prince. So, he’d be around, and I’m like, Whoa, you know, ooh. You know. That was my sort of introduction to the high end pop world.


And you went on tour with Sheila E, didn’t you?


Yes, yes; for about two years.


How did you get along with Prince?


He was like kind of a mysterious background guy. So, he didn’t talk much to us, but he seemed okay, you know. But he kinda kept more to Sheila and, you know, just sort of like that.


Now, did that tour lead to anything?


Then I was playing around the Bay Area for a while, and then, I guess Miles Davis was looking for a bass player, and he kinda wanted that sort of Prince-influenced sound. Then we rehearsed, and I met Miles, and it was crazy. And I think I was too much in shock to be actually intimidated, tell you the truth. It was only until I think a year later, I was on the stage, and I was like, Holy crap, that’s Miles Davis. You know, and then I had that moment. But I think, you know, your body blesses you with the gift of shock, so you’re just, you know, immune.


And how was it? You know, you have to feel each other in music, you have to work together. How did that go?


It went fabulously. You know, he would, you know, give direction while we’re playing, and sometimes before the shows we’d talk about let’s do this part a little faster, or let’s do this kinda rhythm and, you know. And we would keep trying, and so really, back then it was like a laboratory, you know. Because we would do the same song, and it would just evolve. It was like a petri dish. I mean, the songs would evolve so that if you hear the same song two years apart, they’re almost radically different. You know, the tempo is like way slower or faster, and this part is really loud, you know. It was really, really interesting, and it just demanded that you focus a hundred percent on him and the music all the time. You know. That was the big deal.


You had to be really mindful.


Yeah; like mindful to an incredible degree, because if you weren’t, then then he’d know, you know, and then those eyes would, you know, turn. You know, zzzz, laser, laser. So yeah, you really had to have presence of mind.


So, you had a real sense of what he wanted, who he wanted—


Yeah, yeah, yeah.


–how he wanted.


Yeah, yeah. And yet, there was that … still, the challenge was to inject yourself in that, within that framework, you know.


And he expected you to.


Yeah; yeah, yeah, yeah. And so, that was really intimidating, ‘cause I felt like I wasn’t really mature enough as a musician to inject a lot of myself. I don’t know, maybe I did. I don’t know.  That was another coming of age thing, because I had to, I think, almost completely relearn music. You know, really music and bass playing, and the ethos of what it means to be a bass player and what it means to be a musician.




Well, because I hadn’t learned all these really basic fundamental things well enough, you know.


So, you were good enough to get in the band.




And once you were there, you had to up your game.


Yeah; yeah, yeah. It was like raw talent is one thing, but to really like hone it is another thing.


After two and a half years playing with Miles Davis, Benny Rietveld moved on. Two months later, he met Carlos Santana.


Coincidentally, I did a recording session with Carlos Santana.


You sound so casual when you say that.


Well, no. I mean, because it just happened, you know. It was somebody else’s session, and we met. And that was another intimidating moment, ‘cause it was Carlos Santana, and I grew up looking at that album cover, you know, and all that stuff, listening to all those albums over and over again. And he said, Yeah, you know, I might need another bass player, and you know. Luckily, we lived both in the Bay Area, so I called him and I said, Yeah, I would love to play. Are you kidding? You know. So that’s how that happened.


Aren’t you the musical director as well now?


Yes. I don’t know, I’m not really the musical director so much as like traffic cop. You know, ‘cause I consider Carlos actually is the musical director, ‘cause he’s very hands-on and he has an uncanny ability to know what he wants. It’s more about during the show itself, when he calls an audible, which he does every time, then I just help direct traffic. Okay, we’re going here now, instead of, you know, how we rehearsed it.


How much of the year do you go on tours?


With Santana, it’s roughly four to five months out of the year. But it’s broken up. You do get burnt out, you know, no matter what you do. And it’s always gotta be really, really high level, energy, fun. And the minute it’s a little bit below that, then we’re not doing it.


Do you ever get sick of being asked to play a song you love, but you’ve heard it and you’ve sung it … Black Magic Woman, so many times before?


No; love it. It’s great. I don’t care about all the other times I’ve played it. It’s like, oh, wow, this is the first time I’m playing it. You know. That’s special, and we have to convey that to people every time. That’s the hard part. That’s the higher level stuff. Not playing the music; the notes are like whatever, you know. That’s like hammering a nail; okay? But it’s how to get into that thing, and it sounds so, fluffy and goofy, you know. But that is, to me, the higher level of music.


Did working with Santana when you started require a different sensibility than working with Miles Davis? Did you have to shift in any way?


Only superficially, actually, with the style of music, the genre, you know. Because it’s more rock-oriented, Latin, which we hardly ever did in Miles’ thing. But in essence, it was actually very similar, because they both demanded passion and fire, and presence of mind, like all the time. And not being afraid, you know. I think that’s another thing. You cannot have any fear.


Is there a way to describe how they work musically, and how you work with them musically?


With both of those guys, it was about trying to … articulate the in-articulable.  That’s the weird part about music, is that like underneath the hood, underneath all the technique and theory, and all the numbers, which are all useful, underneath it all, I like to say the last thing that music is about is music. You know.  It’s really about feeling and life. And it sounds so, you know … fluffy. You know, like, Oh, it’s feelings. You know. But all the major guys hardly ever talk about nuts and bolts of music, you know. The jazz guys, a little bit more, because it’s more their realm, you know. But all those guys share the predilection for using aphorisms to describe music. It should sound like, you know, red wine streaming through. You know, something like that. And sometimes, it just sounds so bonkers, you know, to the uninitiated. But then, you realize it’s just a personal lexicon and a cosmology. And actually, now that I’ve known Carlos for a while, it makes complete sense, you know. Now when he says something, you know, like really poetic, I’m actually kinda knowing what it means in dry, boring music terms. Sometimes Miles would say—an actual musical thing would be like, Give that part a little lift. Instead of, you know, doong, doong, doong, doong; maybe like doong, ka-doong, ka-doong, ka-doong, doong, ka-doong. You know, all these little things between. I think everyone knows that deep down inside, it’s really silly to talk about music, because it’s the most abstract of all art forms, you know. But we try, anyway. We have to, sometimes. You know, we’re trying to convey what we want, you know.


Although Benny Rietveld lives in L.A. when he isn’t touring with Santana, he likes to come to the place he calls home: Hawai‘i. In 2014, he and some of his former bandmates from Topaz reunited for a show.


What brings you back to perform with your old high school buddies?


Love of music, and love of them. You know. We’ve kept in contact all this time.


And tell me what the names are. Who’s your gang?


The gang is Noel Okimoto on drums, Allen Won on the saxophones, Fred Schreuders on guitar, and Carl Wakeland on keyboards.


That’s a pretty amazing group from McKinley High School, isn’t it?


Yeah. Well, me and Allen, and Noel are from McKinley. Carl is from Mililani. Fred ended up graduating from Kaiser High School. We got kind of popular because we were this bunch of high school kids that could play this kind of difficult and technical music known at the time as fusion. And we loved jazz and all that. So, there weren’t many eighteen-year-olds playing that at the time in Hawai‘i. So you know, we got a kind of rep, and we were the little darlings there for a while, and we even played at La Mancha for two weeks. We disbanded ‘cause we all had stuff, and we were doing our lives. And Noel stayed here, so he’d play. And his late dad, unfortunately, George Okimoto, would go to his gigs all the time. And George actually managed us back then, because he was the manager of Easy Music Center, you know, by McCully. And so he was like, You know, you kids really got something. And he got us equipment to use, you know, cool new gear. So he was like our manager, and really championed us. Cut to couple of years ago. We’re at Gordon Biersch, I’m visiting, and I see Noel, and like you know, listening to him, Byron Yasui and all these great local guys. And there was Noel’s dad, George Okimoto, and he goes, Eh, hurry up, you know, get a reunion. And it was like, actually very bittersweet because he actually made a joke. He was like, Eh, hurry up, before I die.  And what I got from that was like, he wasn’t really joking around. He was like, you know, everyone is about to move on here, and you guys should do something, ‘cause it was really special. So, we did a show last year. It was really, really fun. So, this year again, earlier in the year, we recorded a CD. But you know, we all have these other crazy lives, and we’re not gonna like, Yeah, let’s have a band and tour together. That’s not gonna happen.


Did you ever conceive, did you ever think in your young life, that you would be in your fifties, and it’s a tour, it’s concerts and crowds, and music, and vans?


I had no idea. Who really knows what their thing is, you know.


And how long do you see that going on?


Playing music, being involved in music for me will go on until either I die, or I find suddenly that I don’t like it. You know. I don’t really see the latter happening.


Benny Rietveld has not stopped having fun playing music since figuring out how to play Hey Jude on the piano at age ten. Along with his raw talent, his dedication to his craft, his ability to work with people, his fearlessness and his determination took him to a world stage. Mahalo to Benny Rietveld, a proud graduate of McKinley High School in Honolulu, and longtime bassist for Santana. And thank you, for joining us. For PBS Hawai‘i and Long Story Short, I’m Leslie Wilcox. Aloha, hui hou.


For audio and written transcripts of all episodes of Long Story Short with Leslie Wilcox, visit To download free podcasts of Long Story Short with Leslie Wilcox, go to the Apple iTunes Store or visit PBSHawai‘




Monica Toguchi


Monica Toguchi’s ability to adapt and evolve is evident in her role as the third-generation owner of Highway Inn. The Oahu restaurant, which specializes in local favorites, has come a long way from the charming Waipahu establishment it started as 70 years ago, growing into a modern business with a location in the booming Kakaako neighborhood. The restaurants have thrived due to Monica’s ability to lead her family business into the future – without compromising the values that define it.


This program will be rebroadcast on Wednesday, Aug. 24 at 11:00 pm and Sunday, Aug. 28 at 4:00 pm.


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My grandfather, you know, having Highway Inn and having the memories of going to this little store on Depot Road with the tall green chairs, it was a time period of people just sitting together as complete strangers and eating, and sharing their foods, you know. And he told my father when my father took over; he said to my dad, As long as you have this business, you can support your family.


Monica Toguchi is the third generation owner of Highway Inn, a longtime Hawaiian restaurant that serves up local favorites like lau lau, poi, and pipikaula. She didn’t plan on taking over the business, but she did, and she needed to answer the question: How do you take a beloved but aging business from Waipahu, Oahu and keep it vibrant in the 21st century? Monica Toguchi, next on Long Story Short.


Long Story Short with Leslie Wilcox is Hawai‘i’s first weekly television program produced and broadcast in high definition.


Aloha mai kakou. I’m Leslie Wilcox. A common dilemma with multigenerational family businesses in Hawai‘i is the question of who will carry on after one generation retires. We see how many multigenerational family businesses have not survived. Under Monica Toguchi, the third generation owner of Highway Inn, the family Hawaiian restaurant has not only survived, but has expanded into new neighborhoods. Monica’s roots are firmly planted in the old plantation town of Waipahu, Oahu, with her grandfather, Seiichi Toguchi, who started Highway Inn in 1947 to feed his growing family.


My grandfather was born and raised in Hawai‘i. And you know, my grandfather loved Hawaiian food. He had a lot of Hawaiian friends who taught him how to make pipikaula. But he was picked up by the American government when Pearl Harbor was bombed. My grandmother did not know where he was for about two months. And then, when they did find out, he was in Durham, Arkansas. And so, she and the first three eldest children, my Auntie Barbara, my Auntie Jonette, my Auntie Shirley, they moved to Durham, Arkansas at the time. And then, he was transferred during the war to Tule Lake. And for people that are familiar with Japanese American history, Tule Lake was one of those places that you just didn’t want to go to.


It had a reputation; that’s where they sent the troublemakers.


Correct. Right; correct. So, from my understanding, or my limited understanding, the American government would classify different groups of Japanese Americans. You know, you’re very pro-Japanese, or you’re moderate. And Tule Lake was one of those internment camps that a lot of people that were assumed to be very pro-Japanese were placed. For reasons unknown to us—my grandfather was no one of prominence during that time, he didn’t have the restaurant, he was just a working husband and father, he didn’t have any power within the community, so it’s huge mystery to us why they picked him up, but they did. And so, towards the end of the war in 1945, my father, who took over Highway Inn, was born in the internment camp. My grandparents left with three children, and came back with five. So, they were pretty busy in the internment camp.   And one of the things the American government did was, they identified people’s occupation within the internment camp. So, my grandfather listed cook. And so, what they did was, they put him in the mess hall along with other Japanese American cooks. And so, that’s why Highway Inn has a history of having Hawaiian and American foods. That’s where he learned how to cook hamburger steak and sirloin cutlets, was from being in a mess hall in an internment camp with other Japanese American cooks from around the country, and my grandfather really had to figure out how he was going to support now five children. And what ended up happening was, he decided to go back. He tried several things before he started Highway Inn. He tried to raise pigs, but the pigs got skinnier, not fatter.




So, he realized, Okay, I’m not a pig farmer. And at that time, a lot of Okinawans were pig farmers.


That’s right.


So, my grandfather started Highway Inn in 1947. He only had a second grade education.


There he is.


Yeah. So, that’s my grandfather and my grandmother. They were very, very poor. But it went to my father in the late 70s. At the time that my grandfather was ready to retire, he was considering closing Highway Inn. But my father really felt that, you know, it’s been around for thirty years, and it was something that he wanted to try to continue, even though restaurant and cooking was not his thing. So, I had another uncle who had worked alongside my grandfather, got a lot of his culinary training during Vietnam, and came back to work with him. But he would not pass the restaurant down to this particular uncle.


Is this the uncle?


That’s my father’s older uncle, my Uncle George. So, my father has two brothers, one older than him, and one younger than him. But the business got passed down to him, and he’s the second boy, which is very atypical for, you know, Japanese American families. And he was the third youngest.


Did the other boys want the business?


I’m not too sure about that. At that time, my Uncle George was working for Oahu Sugar Mill. And I think my Uncle Gary, my dad’s younger brother that worked alongside my grandfather, helped us to continue the cooking, you know, thirty years after my grandfather had exited the business. So, my Uncle Gary was very instrumental in being able to keep the family recipes consistent to the way that my grandfather had cooked it. And my father was also very disciplined, and I think my grandfather knew that. He typically would describe himself as being a karate man. So, I think my grandfather innately understood that my father had the kind of qualities that a restaurant would require.


Under the second generation ownership of Bobby Toguchi, Highway Inn continued to thrive in Waipahu, Oahu. Monica Toguchi grew up around the restaurant and nearby, in the newly-developed planned community of Mililani.


So, I was born at Kapiolani Hospital, and I was raised primarily in the Waipahu and Mililani areas. So, Waipahu because my father is from that community, and our business Highway Inn is from that community. My parents bought a house in Mililani, so for most of my upbringing, I went to Mililani Uka, I went to Wheeler Intermediate, and then, I went to Mililani High School thereafter. Every Sunday, my grandfather would cook Sunday meals for all my cousins and his children and their spouses, and we would all gather at his house in Waipahu. And so, we would go to Depot Road and my grandfather would typically either feed us tripe and rice or beef stew and rice.


And you loved it.


And I loved it. And when my father took over, we ate a lot of beef stew and rice at home. Because my mom at that point had four children, four girls to raise, my father was working long hours at the restaurant, and so he would bring over the leftovers, you know, home. And so, we would pretty much eat what they cooked almost every day.


What were your years like after high school? You know, young adulthood.


I’m not proud to say this, but it was definitely a time where there was a great deal of unsuccessful relationships and, you know, poor decision making. I had moved out of my parents’ house probably when I was about seventeen, and I ended up getting married at quite a young age, you know, around twenty-one. I had my daughter at twenty-two, I had my son before I was twenty-five, you know, so I was a very young mother. And as a consequence to some of, you know, the not-so-good decisions, I found myself in a very, you know, difficult situation in regards to how do I raise my children on my own. My twenties was really a difficult time, but during that process, the one thing that I stayed true to was my education. So, you know, I finished up my master’s degree in counseling at the University of Hawai‘i. One of my first jobs was working at Waipahu Intermediate School. And on the first day that I was there, there was—and I think it’s gotten a lot better today, but at the time that I was there, there was a gang-related fight. And so, I believe what they called it at the time was a Code Red, which was a really high level of security, and you know, the police get involved. And I was just thinking to myself, you know, I’ve been in this Waipahu community my whole entire life, so it wasn’t that I was a stranger to some of, you know, the issues of our community, but also at the same time, you know, I was a bit nervous to, you know, try to figure out, well, you know, how much is the situation gonna escalate before it gets better. And that experience was one of the reasons why I ended up wanting to get my PhD. I really went into graduate school thinking that, you know, I would try to understand more about juvenile delinquency.


Monica Toguchi pursued her new dream of earning a PhD. As a single mom in her twenties, Monica packed up her two young children and moved to the University of Oregon to attend graduate school.


You know, a lot of people would ask me, How’d you do it? And I think when you’re young, that’s the beauty of being young. You know.


What did your family say?


I never really told them what I was doing until it was time to catch the plane. And the response really, was really quite an interesting one to me. It was one, actually, that I didn’t appreciate. It was a very gender and cultural stereotypical response that, as a mother, I really should focus on my children. And in my mind, I felt that, you know, making these educational decisions was really for the benefit of my children.


While still working on her PhD at the University of Oregon, Monica Toguchi was abruptly summoned back home to her family in Hawai‘i.


My father never complained once of being overworked, and supported his family. And then, he then prematurely had to exit. Like so many business owners, you know, they suffer from high blood pressure. You know, the business is foremost, typically they neglect their health in the process until it catches up with them, and they have a life-changing moment. And so, for my father, it was a brain aneurism in the basal ganglia, which is very close to the brain stem, so it’s one of those situations where if you suffer an aneurism and it’s close to the brain stem, there’s nothing you can do. You just have to wait it out. Amazingly, he survived, but he also had to take it easier from that point on. And when my dad was recovering at, you know, Rehab of the Pacific, my sister Regina and I were in his bed, and my father was trying to get out of the bed. You know, he actually had an alarm. You know, when people, they try to get out of bed and they’re not supposed to, an alarm goes off. So, he had one of those, because he was very stubborn and, you know, wanted to get back to work. But you know, he was in bed, and my sister and I were like, Okay, so who’s gonna take over the business? And she just immediately said, Well, I don’t want to take over the family business, I really just don’t want to have the lifestyle that Dad, you know, has, which is working constantly, seven days a week, hundred-hour work weeks. And my sister was smart enough to think through that and to recognize that that’s not the kind of lifestyle that she wanted.


What did you say?


You know, I was probably in my late twenties at the time, and I looked at her and I said, Great, I don’t have to fight you for it, then. In many ways, I always felt that it perhaps was my responsibility, it was perhaps my kuleana, if you will. So, I thought perhaps at some point in life, I would need to address that, but what I didn’t anticipate was, I didn’t anticipate that it would come so soon. There was probably an idea in my head, probably mostly created on my own, that you know, it was my responsibility to make sure that if this business was gonna continue, that would be my responsibility to bear.


But you had been deferring that.


Well, A, I didn’t want to count on it, because I did not know what my father’s plans were. He never explicitly said, This is what I want to do.




I think he was quite pleased. So, you know, I think as most multigenerational family owners … typically, I think it’s safe to say that most parents don’t force their children. They really want their children to come to that decision on their own. You know, because when people are able to come to those decisions on their own, it really becomes the best decision for that person and for the business itself. Because it doesn’t feel like it was forced upon you.


But heavy is the crown.


Heavy is—right.


If you say no, what happens to the business?


Right; right.


Do you want to be the one who stepped out?


Right. And also too, you know, there’s statistics out there that multigenerational businesses don’t really … there’s not a lot of confidence in succession. So, you know, there’s about thirty percent of businesses that will go from the first generation to the second generation, and then that percentage actually decreases to twelve percent from the second generation to the third generation. And typically, you know, they say that it’s the third generation that screws it up.


Or that the third generation is soft.


Right. You know, we don’t have the character, you know, traits, we kinda squander away all the hard work that was built.


How do you feel about that observation, or opinion?


You know, because the restaurant is such a difficult business, you know, my sister used to say this. You know, no matter twelve-hour or fifteen-hour days, failure is just simply not an option.


Monica Toguchi’s father Bobby survived his stroke; however, he no longer ran the family business. Monica became the third generation owner of Highway Inn, and eventually gave up her pursuit of a doctoral degree to focus on running the business. And then, in 2011, hard times struck the family again.


I lost my son about five years ago. And you know, he died by suicide, and that was a really, really difficult thing. You know, every other day here in Hawai‘i, somebody dies from suicide, and there are so many people that are affected by it, but we don’t talk about it. And the Kakaako store was named in his memory, so I named the business—the legal name of Kakaako is Hoola Mau. And ola is life, you know, mau is to move forward, to move life forward. And that was my thing. But my son really … I think a lot of us, you know, when you’re faced with those kinds of tragedies, you try to make sense, you ask a lot why questions. But really, at the same time, it’s, you know, how do you take something that is so personal and so tragic, and not become paralyzed by it. And I had to just, you know, really keep it together. And Highway Inn and the business itself really, I think, helps me to do that. You know, at that time, we had about forty, forty-five employees, and I knew that if I was paralyzed or incapacitated mentally by my son’s passing and having to address that, go through that emotional process of healing, you know, if that took me under, then the lives of my staff would be affected. And so, that really gave me the motivation to think beyond my own tragedy, and to think outside of myself. And sometimes, when I’m really like in the thick of it all, you know, how I recognize that, you know, this is gonna pass, tomorrow will be a better day. And you know, when you go through something that tough, anything in comparison is really not that challenging.


Monica Toguchi persevered after the loss of her son and continued to channel her energy into rebuilding and creating. At the time of this conversation in 2016, Highway Inn has grown to seventy employees, in three locations. The business caters, as well.


How many outlets or how many businesses are part of Highway Inn now?


So, when I came onboard, we had Waipahu, and at that time, we probably had about thirty-five employees or so on the payroll. And then, the opportunity came to partner with Kamehameha Schools; we were approached by Kamehameha Schools. They came out to Waipahu, and they saw what we were doing, you know, and they felt that it would be a good fit for what was up and coming in Kakaako and what their vision was for their lands in Kakaako. So, one of the struggles for me personally was, how do you take an old business like Highway Inn that in the next year, we’ll be celebrating our seventieth anniversary, and how do you then put that kind of business into a very urban, up-and-coming neighborhood like Kakaako? You know. The natural partnerships in an urban community like that would be to find an operation that was trendy, that was, you know, hip and cool. And here we are, coming into, you know, the coolest part of Honolulu, and we have this very old quaint place.


Isn’t there a Hawaiian proverb that says, Look to the future by looking to the past?


M-hm; m-hm. Or, you know, you need to know where you’ve been to know where you’re going. And so, that happened, and we opened our Kakaako location in October of 2013. And then, last year in September, we were also very fortunate. This process had started about a year before the partnership was solidified, but we had the opportunity to partner with Bishop Museum. You know, a lot of things did not come easy for me in my life. A lot of people may think that, you know, because we have Highway Inn and the brand that it has become today, you know, I think it’s easy to assume that I was given a silver spoon, you know, and perhaps, you know, I might have been born in a life of privilege. But it certainly wasn’t that way.


What do you think your grandfather would have made of a woman taking over Highway Inn—you?


I’m not really sure if he had a premonition of some sort. But my grandfather passed away in 1994. And I had said goodbye to my grandfather. He at the time was hospitalized for a couple months before that. And I went to the Waipahu house, he was in his wheelchair, and I said goodbye to my grandfather. And he cried. And my mother and I went back into our car, and my mother was like, You know, that was really strange for him to cry. And it kind of stuck in my mind. And what had happened was, he then passed away about two months later, and I got a phone call in California, my parents telling me that my grandfather had passed away. So, that was really the last time that I saw him. But you know, I think my grandfather, if he were alive today, he would be about a hundred and one years old. He was a very humble man; I don’t think he would believe what he started would have grown to what it is today. And I think some of my best moments is, you know, like when you feel like you’ve finally arrived. You have those moments where you feel like you’ve finally arrived, is when Senator Inouye came to visit us a couple months before he passed away. And out in Kakaako, Senator Akaka, you know, visiting us, and you know, Governor and former governors, and you know, we have so many movers and shakers.


Highway Inn on the map.


You know, yeah. And we have so many movers and shakers that we typically read about in the paper that make a difference in our communities, and I don’t think my grandfather would have ever imagined that these are the people that his business would be feeding one day.


You know, speaking of the family business, the family is about to look different.




You’re engaged, you’re going to be married soon.


I am. So, I have been very fortunate. When I came back from Oregon, I was, you know, thinking about who I wanted to be with, what kind of person I would be with. And you know, when you gain these kinds of experiences outside of Hawai‘i, it really expands your understanding of the rest of the world. And in my mind, I thought, you know, I really want to date somebody that, you know, can appreciate what is here, and the culture that we have, but also understand, you know, parts of my life that I’ve been exposed to living on the mainland for five years. So, I met Russell, and he’s actually British, and he was part of Aloha Airlines, and then he was part of Hawaiian Airlines, and he eventually became an investor into our Kakaako business. And so, about two years ago, he came onboard fulltime, and so, he’s my chief financial officer, my chief commercial officer, he’s a great visionary, great finance person. What it’s allowed me to do is really focus my time on everything outside of the finance parts of the business. And so many decisions are made on understanding, you know, the data that you collect. You know, how many people come in, what the average check size is, you know, whether your traffic is going up, going down. You know, and you base your decisions on these things. And so, he’s been a wonderful asset. And after nine years, it took us nine years, but after nine years, we decided we would get married.


We’re speaking in 2016. As you approach the business’ seventieth anniversary, is it still touch-and-go sometimes in business? I mean, do you assume there’ll be a fourth and a fifth generation?


No. You know, so my father had four girls, you know, my grandfather had seven kids. So, there were options there; right? So, out of the four girls, the only, you know, fourth generation is my daughter, who’s twenty-one, and she’s studying in New York. And you know, I always describe my daughter; she’s, you know, artsy-fartsy. It’s not one of those things that, you know, as much as we have done pretty well for ourselves, I don’t think it’s a natural choice, even for my cousins or my cousins’ children, that that’s something that they want to participate in.   Because I think they recognize it’s a lot of hard work. I do hope that it continues. How specifically is a big question mark.


Third generation Highway Inn owner Monica Toguchi continues to look toward the future, while honoring the legacy of her family business. In a recent interview with Honolulu Magazine, she said, If you understand who you are and what values are truly important to you, evolving is not as difficult as it may appear to be. Mahalo to Monica Toguchi of Honolulu for sharing your story with us. And thank you, for joining us. For PBS Hawai‘i and Long Story Short, I’m Leslie Wilcox. Aloha, hui hou.


For audio and written transcripts of all episodes of Long Story Short with Leslie Wilcox, visit To download free podcasts of Long Story Short with Leslie Wilcox, go to the Apple iTunes store, or visit


I have not gotten sick of eating my own food. I try not to eat the lau lau, because the lau lau at Highway Inn is a very precious commodity right now. We just cannot keep up with the demand, so there are times when, you know, we run out of lau lau by the end of the day. And so, I try to not eat the lau lau, because I think if I eat a lau lau, then somebody is gonna come in and not be able to order this item.



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The Witness


In 1964, Kitty Genovese was repeatedly stabbed on a street in Queens, New York. Soon after, the media asserted that 38 neighbors watched but did nothing to help. Follow the efforts of Kitty’s brother as he re-examines his sister’s life and death.


Bryan Andaya


Bryan Andaya learned how to manage conflict with civility and diplomacy at an early age while growing up on the Big Island. His ability to problem-solve became essential as a young lawyer and eventually, as the vice president and chief operation officer of L&L Franchises, Inc. Bryan provides direction and leadership to the restaurant franchise that includes L&L Drive-Inn and L&L Hawaiian Barbeque, helping to spread the spirit of aloha throughout the world, one plate lunch at a time.


This program will be rebroadcast on Wednesday, Jan. 25 at 11:00 pm and Sunday, Jan. 29 at 4:00 pm.


Bryan Andaya Audio


Download the Transcript




Both Mom and Dad encouraged me to dream. That you can be a lawyer someday; you can you can go to college; you can do this. That you can. And that you-can attitude I think is what kinda has pervaded, you know, my life and continues to do that, that I can, you can do that, if you want to do that, you can.


As the child of hardworking blue collar immigrant parents from the Philippines, Big Island boy Bryan Andaya took his parents’ advice to dream big. These days, Andaya is a role model for other children of immigrant families through his role as chief operating officer of L&L Hawaiian Barbecue, which is well-established in and outside of Hawai‘i. Bryan Andaya, next, on Long Story Short.


Long Story Short with Leslie Wilcox is Hawaii’s first weekly television program produced and broadcast in high definition.


Aloha mai kakou. I’m Leslie Wilcox. Bryan Andaya spent his early career as a labor law attorney before being courted by L&L franchise CEO Eddie Flores to be second in command of the growing plate lunch chain known as L&L Drive-Inn and L&L Hawaiian Barbecue. Andaya had no background in the restaurant business, but his love for all things Hawai‘i and his ability to relate to people led to his success. As the only child of divorced parents who worked long hours, Andaya learned to be independent at an early age in the plantation communities of Honokaa and Hilo on Hawai‘i Island.


So, I was born in Honokaa, Hawai‘i, on the Big Island. My parents were both from the Philippines. My dad was from Narvacan, Ilolcos Norte, for people who are familiar. And my mom was from Paoay, Iloclo Norte. And my dad immigrated here when he was … it was 1946. So, he was much older than my mom. I think there might have been a thirty-year spread between them.


Did she come later?


She came later. He worked on the plantations.


Doing what; what was his job?


I think it was just general labor. So, I know the last job he had was riding around in a truck and planting, and then, you know, I don’t know, what do you call that? Throwing seeds out of the truck so that the cane would grow.


He was there for the closure of Hamakua Sugar Company.


He was; and I still remember that.


It wasn’t just a job, it was way of life that was lost.


It was. You know, it was tough. And fortunately, by then, we were sort of in transition. My parents were divorced by then. And so, my dad was by himself, and so, I handled a lot of his affairs. So, I kinda knew, and I kinda saw it coming.


You handled his affairs when you were in seventh grade or so?


Yeah. You know, I was kinda forced to, because there was really no one else to do it.


For example?


So his paychecks; I would collect his paychecks, and go to the bank for him. If there were bills to pay, I’d sort of try to handle some of that.


Was there a language difficulty with him? Is that why?


Oh, there was; there was. So, he spoke mostly Ilocano.


Do you speak Ilocano?


I do, actually.


So, he depended on you for your language and other ability from a young age. And so, he never really learned to communicate in English?


Yeah; I would say, yes. He could communicate on a very basic level. But things like, you know, even like balancing a checkbook. And back then, it was mostly cash anyway, but, yeah, things like that. Like, he would need help for even reading documents, or what a document meant. And I think perhaps that’s one of the factors that influenced me to get a law degree and become an attorney.


I notice in reading your bio, your mom was a waitress at the big Chinese restaurant in Hilo.


Yes, yes, yes.


Where everybody goes.


Yeah; yeah.


And so, that meant she always had money in her pocket, right, because she got tips.


Yeah. You know, I mean … you know, for … I’m really grateful for everything my parents have done. I mean, my mom, she worked three jobs to make ends meet. I mean, at that point, it was just she and I at that point. I mean, my dad, of course, helped, but I lived with my mom, and you know, I was with my mom, and it was very, very difficult for her. And she even helped my grandpa immigrate, who then helped all my uncles and aunties come over from the Philippines and immigrate from the Philippines. And that was all as I was growing up, and that was all during the divorce, and all of that. So, she really worked hard for that. So, yeah, one of her jobs was at Sun Sun Lau as a waitress at night.


What else did she do?


She worked at Big Island Candies, during the day. And this was before Big Island Candies was a big hit. That was before—I don’t even remember them having the shortbread.


So, she had a day job and a night job.


Day job, night job.


And you were home alone.


Oh, yeah. So, I’d be home alone, so again, you know, it’s that independence.




When my grandfather finally came from the Philippines, then finally, I had someone to watch me. But for me, it was more like a buddy. I had someone to talk to. Except, he didn’t speak any English.


That’s when you learned—


That’s when I learned Ilocano. I mean, talk about immersion, you know. It was either sit in silence, or learn how to communicate.


And you mentioned your mom had a third job?


Yeah. Once in a while, she’d like do odd jobs here and there on the weekends, you know.




So, I know at one point, she was working at the macadamia nut factory, Mauna Loa Macadamias.


So, you were on good terms, as the child of divorce, with Dad and Mom.


From my perspective, I don’t think there’s ever good terms. I wouldn’t say it was an ugly divorce, but it definitely wasn’t pleasant. I’m not blaming my parents for this, but you have to choose, you know. I felt like I had to choose; I had to choose my mom or my dad.


You were the only child, too.


And I was the only child. And I think there was animosity between of course Mom and Dad, but also the families. So, I’m really close with my mom’s side. And it really was one of the tougher things that I had to deal with as a kid. I think it really had a profound effect on some of the choices I made, and what I had to do. And you know, as a father and a husband now, I definitely think about that all the time, and it really shapes my attitude towards marriage and family.


Later in his legal career, Bryan Andaya would use that ability to deal with conflict and balance priorities. At the time, he continued to split his time with both parents, but lived primarily with his mother in Hilo, Hawai‘i. Despite little parental supervision, young Bryan excelled in school.


So, I did very well. You know, in intermediate school, high school, I think early on in high school, ninth, tenth grade, I did quite well. I was on the honor roll, things like that. I was looking at colleges. And then, you know, I think the hormones hit. And you know, okay, I’m a teenager, and you know, I started hanging around friends. You know, different friends, and we did different things, and … my grades suffered as a result.


So, right at the time you’re applying for college, you grades were slipping?


Right before that, too. So, my choices in terms of colleges and where I went to school were very limited.


Well, where’d you go?


I went to Portland State University. So, it’s in Portland, Oregon. I had a choice to go to the UH, UH Manoa; so they actually accepted me. And I wanted to go there, but I thought to myself, if I go there, I’ll have my friends, you know, and they were a big part of my life at that point. I said, you know, I don’t know how it’s gonna be. I don’t know how it’s gonna be going to UH Manoa, and you know, you hear about all of the different parties, you know, which I loved, you know.


So, you were trying to protect yourself from the parties.


Yeah; so I said, I better go somewhere, where I don’t know anyone.


How was that?


It was tough. It was horrible. It was miserable. For the first couple of months, it was miserable. I didn’t know a single soul in Oregon. Not a single soul. The homesickness never went away. Never, ever went away, even when I prospered, so to speak, as a student and made friends. I still have, you friends and will have lifelong friends from college and law school.


But the friends didn’t take the homesickness away. How did you handle it?


So, like I mentioned, I just did everything I could to be as close to home, to have Hawai‘i close to me as much as possible.


How’d you do that?


So, well, at first, remember, I don’t know a soul; right? So, I’d walk around, you know. I was like, hey, I think she looks like she’s from Hawai‘i. I was like, Hey, are you from Hawai‘i, by any chance? And you know, sometimes it’s like, No, no, no, I’m from California, or whatever. And I was like, Oh, okay. And finally, I finally bumped into a bunch of, you know, Hawai‘i people, and instantly became friends with them. And same thing. So, that was one way I coped. Another way you cope is, you read the news. And I don’t know if this made it worse, but you read the news. I think the internet was first starting, and so, you could actually go online and get, you know, Honolulu Advertiser, or whatever it was called back then.


Mostly funny.


Yeah. And read, you know, and read the news online. Do stuff like that, or sometimes, I’d just go to the library and just, you know, look up Hawai‘i books, and read about Hawaii, and really started to embrace things that I never really embraced before. Like Hawaiian music; never liked it, never listened to it. But I remember, you know, the first time I heard, um, C&K and Kalapana, that was it.


While attending college in Portland, Oregon, Bryan Andaya’s newfound appreciation for all things Hawaii would motivate him to reboot the school’s Hawai‘i Club. And years later, his love of the culture would inspire him to perform on the ultimate Hawaiian stage.


And finally, we got this club going. So, we revived it, and we decided to have a luau. Okay; so we need entertainment for the luau. What’s gonna be the entertainment? Oh, well, the other schools, they’ve got the students dancing. I’m like, Dancing? Oh; okay. And it was very small; there was like maybe twenty of us, so we were the entertainment. And fortunately, someone knew how to do the hula, so they kinda taught us, you know. And of course, I’m kinda embarrassed. I hope nobody has it on film or anything like that. That would be terrible. But I remember, yeah, we put on the luau and I danced, you know, couple of numbers. And then, I was going home that summer, and I said, I am going to take it up, I’m gonna take up the real hula from a real kumu, and be part of a halau. And I did that. So, I went back to Hilo. I had to work during the summer. But I also joined a halau, Kahikilaulani; Ray Fonseca was my kumu. I did that for the summer. Really liked it.


So, you made your way to the stage of Merrie Monarch?


Okay; so you just keep going for the summer, just keep going for the summer. And then, finally, after law school—so this is a few years now, I got a clerkship with Judge Amano. So, was gonna be there for a year. I don’t know how I did it, because Judge Amano required a lot of hours to be put in, but somehow, I did it, and it was one of the most fulfilling accomplishments I’ve ever had.


What did you dance to; what song?


Kamapuaa was our chant.


Which is the pig.


Which is the pig god. And I hope I’m not oversimplifying it. But yeah, that was our chant. I think there were five or seven of us.


So, that was hula kahiko, the ancient hula.


Hula kahiko; and we placed third. The kahiko, placed third; and overall third. And you know, that was great.


That’s a great accomplishment.


Yeah, it was. You know, for a very short time like that, you know. Nobody thought I could; I didn’t think I could do it. But there I was, you know, Merrie Monarch night.


And it was all because you were homesick in Portland, to begin with.


Yeah; it was all because I was homesick in Portland, you know. And I’m not Hawaiian, you know, ethnically speaking, but definitely Hawaiian at heart. And yeah, I was just so proud to be on that stage and represent the Hawaiian culture, and be part of the culture.


What about the Filipino culture; what does that mean to you?


Okay. So, that came later. And yeah, that was tough; that was also tough for me. You know, growing up in grade school, I don’t remember a lot of Filipinos in my school. I’m sure there were, but you know, I just don’t remember. Or maybe there were, but they were immigrants that had just emigrated from the Philippines. So, it was a little different.




And then, I remember back then, it was okay to make all these jokes and, you know, put people down. You know, it was tough for me, ‘cause growing up, you know, I wanted to fit in. And you know, I really didn’t have the confidence or the knowledge then that, hey, you know, you gotta be proud of who you really are, and you gotta represent your culture, your heritage. And nobody’s taught me that; nobody teaches you that kinda stuff. You know, definitely, I didn’t get that at home.




It wasn’t until I started my term with Justice Ramil, who is also Filipino. So, he introduced me to different organizations, and introducing me to um, some successful Filipinos. And Justice Ramil himself was a huge role model. Like, he was this guy … very similar background ethnically speaking, and you know, as a budding lawyer, that’s what you want become, right? You want to become a Supreme Court justice. And so, I was like, Wow, you know. And then, for the first time, I lived on Oahu, and for the first time, there’s a Filipino population in enough concentration where you can relate to people.


Bryan Andaya says the world didn’t beat a path to his door after he graduated from law school. But after several law clerkships, including one with Hawai‘i Supreme Court Justice Mario Ramil, Bryan Andaya began practicing law, which led to a fortuitous introduction to Eddie Flores, the CEO of L&L Drive-Inn. The two men hit it off, and the business chemistry would start Andaya down a much different road.


I actually met Eddie because Justice Ramil introduced me to the Filipino Jaycees, and then I happened to meet Eddie at a party. Who said, Hey, you know, What do you do? I said, I’m a lawyer. You know. And you know, I was maybe not even a year in practice; maybe six, seven months in practice.


And what kind of law practice were you—


I was doing labor law.


Labor law; okay.


So, I said, I do labor law. So, he said, Oh, I’ve got a problem, you know, I’m this, X-Y-Z. I’m like, Oh, yeah, I can help you with that; the answer is this. You know. And I mean, it was an easy one. It wasn’t a very tough problem, you know, the way I saw it. But you know, so he did; he sent the cases over, and we disagreed, you know. I said, Well, this is what it is. And he said, No, I disagree, I want a second opinion. And you know, I was a new lawyer, you know. So I said, Yeah, go ahead. And he eventually came back and said, Okay, you’re right.


And then, what happened? I mean, how did you make it to COO?


And then, you know, I think that bought a lot of trust. You know, and I’m one that if I’m hired to do a job, I’ll do my job. And a lot of times, one of the worst things you can do as a professional is to be a yes person, and just say yes to everything, because you’re really doing a disservice to your client, to your organization. And so, I think he kinda knew that, Hey, okay, this guy is gonna be honest with me.


When Eddie asked you to come and join in a leadership position at L&L, that was a wonderful invitation, but it didn’t mean you’d be successful. How did you make a success of it?


You know, I knew that it was life-changing. I mean, you know, at first, I was like, Can I practice law on the side? Like, no, you know, you gotta focus on L&L. You know, you can’t serve two masters. And then I go, Well, what is COO, what does that do? How do you do that?  I don’t know anything about being a COO.


And L&L had not had a COO previously?




So, you were the first.


Yes. And I said, I can’t cook, I can’t be in the kitchen, I’m horrible. What am I supposed to do? So, a lot of it, again, is about figuring it out. Figuring out what a COO role does, and then of course, it has to be specific to that organization.


And his daughter is the CFO.




So, you’ve got family on either side of you.


Yup. And she’s the one that’s good with spreadsheets and numbers, and everything else. So, I’m really happy that she’s around. But no, it’s again, figuring out, putting yourself in the shoes of the people who rely on you. So, the people in the office, in our corporate office; what is it they need from my position, from me. The people out in the stores, the franchisees, our clients; what do they need, what is it that I can do to be as useful as I can to them. And all the way down to the employees, the line employees on the cook line, the cashiers; what it is they need, how can I best serve their interest. And really, that takes a little while to figure out. Certainly, one thing I learned from the very beginning is that it’s impossible, no matter what your title is, even if you’re the owner, if you’ve got an organization that’s got an established culture—corporate culture I’m talking about, you can’t just come in overnight and change it.


M-hm. It’s interesting, you chose to think about what other people need from you. You could have said, I gotta look at what I need from these people


Oh, absolutely. To be an effective leader, it’s not about you. You know, it can’t be about you. Because really, it’s about the organization that you’re serving, or the company that you’re serving, or the people, your constituents. It’s about them. You’ve been put in a position, or I’ve been put in a position to make choices for the best interest of the organization. And I take any leadership role with the same attitude, whether it be for a nonprofit, or my kid’s swimming club.


Bryan Andaya’s ability to relate to people helped him gain traction in his new role as the Chief Operating Officer of L&L. In 2011, Pacific Business News named him the Young Business Leader of the Year. These days—and this conversation is taking place in 2016—Andaya frequently finds himself in the air and on the road, with nearly two hundred L&Ls to oversee.


Literally, we’re from New York, New York State to Malaysia and Indonesia. You know, I would say that’s a lot of miles between them. And all in between, up to Alaska, Japan, Philippines.


How many is that; how many stores?


We’ve got a total of two hundred now.


And what are you aiming for? Is there a goal?


Well, it depends who you ask. But if you ask me, in my position, it’s five hundred, one thousand, you know. I mean, I think sky’s the limit. You know, I don’t think there’s any limit or any set goal in terms of we should, okay, it’s reach for. Most immediately, I think, because you always have to set a short-term goal, I think most immediately, if we can maybe grow two or three per month, I think that would be great.


That sounds like it’s a very intensive job, since you’re the chief of operations.


It is very intensive. It’s very intensive, but what I like is that because I’m passionate about it, because it’s about Hawai‘i, and because it’s about helping immigrants like my family and myself to some extent.


Is that who a lot of the franchisees are?


Yes; yes. Almost every one are immigrants, and a lot of the workers are immigrants.


And not always Filipino immigrants.


No, no; not always Filipino. Actually, in Hawai‘i, it’s mostly, you know, Chinese. There are some Filipino franchisees on the mainland, and Korean and Vietnamese, you know, we’ve got a whole mix, and Indian. But really, I identify with them, because they’re just like my family. They came to America, you know, in search of a better life. And having a business—and that’s something I wish I had, you know, early on and something I wish my family had early on—is a means to that. So, to the extent that I can help them achieve their goals and achieve their dreams, I’m really playing out, you know, what I want for my family.


What’s your ultimate dream? Or are you living it?


I think I’m living it, but of course, the natural progression would be to become, you know, CEO of L&L, to be able to provide even better for my children and my family, to be able to have freedom at some point, financial freedom so that I can do what I want to do, really, really want to do on my terms. I am very fortunate to be where I’m at, and to be in this place. Number one, I’m home, I’m in Hawai‘i. And so, there’s very little that can go wrong, the way I see it.


Just being here is something I appreciate a lot. I’ve got a family, I’ve got my wife and I’ve got my kids. That’s everything.   You know, of course, I’m very fortunate I’ve got Eddie Flores, who has allowed me to pursue this opportunity with L&L. And every day, I wake up, and I know that I can pursue my passion, is really to spread Hawai‘i, the spirit of aloha throughout the world. And I actually get to do that.


Bryan Andaya continues to spread the Aloha Spirit through the local plate lunch, as well as with his involvement and leadership in community organizations like the Filipino Community Center and the Filipino Chamber of Commerce of Hawai‘i. He’s tied in with political leadership, too. In 2013, U.S. Senator Brian Schatz picked Andaya to serve as one of his five field representatives to help identify the concerns and needs of Hawai‘i constituents. Mahalo to Bryan Andaya of Honolulu for sharing your story with us. And thank you for joining us. For PBS Hawai‘i and Long Story Short, I’m Leslie Wilcox. Aloha, hui hou.


For audio and written transcripts of all episodes of Long Story Short with Leslie Wilcox, visit To download free podcasts of Long Story Short with Leslie Wilcox, go to the Apple iTunes Store or visit


I always like to read Dr. Seuss, and there’s a book called, “Oh, the Places You’ll Go!” And I read that, and it reminds me of my life.


But I think it’s all about marveling at things.


Marveling at things, and it talks about ups and downs. It talks about dreaming, and it talks about dreaming of the places that you want to go, and it’s kind of an allusion to the things that you want to have, or things in your life that you wish were part of your life.




A Conversation with Our Four Mayors


With a new year, newly seated City and County Councils across our state, and a new State legislative session, INSIGHTS welcomes Hawai‘i’s four mayors for this live conversation: Maui County’s Alan Arakawa, Oahu’s Kirk Caldwell, Kaua‘i’s Bernard Carvalho and Hawai‘i County’s Harry Kim. Among other topics, they’ll discuss increasing divisions across the island chain, and how each county can work together as part of a unified state.


INSIGHTS ON PBS HAWAI‘I is a live public affairs show that is also streamed live on Your questions and comments are welcome via phone, email, or Twitter during the broadcast. You may email us ahead of time, or include the #pbsinsights hashtag when posting on Twitter.


Your questions and comments are welcome via phone, email and via Twitter during the Live Broadcast.


Phone Lines:
462-5000 on Oahu or 800-238-4847 on the Neighbor Islands.




Join our live discussion using #pbsinsights


The Chocolatiers


Host Eric Gorges combs the country for America’s finest craftsmen, documenting what it means to be a modern-day maker. In each episode, Eric explains the history of an old-world craft as it is practiced in America today.


The Chocolatiers
Eric meets Dan and Jael Rattigan at their chocolate factory in Asheville, NC. Eric lives out his lifetime dream of working with chocolate.


Divided States of America, Part 1 of 2


Days before the inauguration of the 45th American president, FRONTLINE looks at how events that occurred during the Obama presidency have revealed deep divisions in our country and examines the America the next president will inherit. This two- part program offers an in-depth view of the partisanship that gridlocked Washington and charged the 2016 presidential campaign, the rise of populist anger and the racial tensions that have erupted throughout the country.


Part One
Examine how Obama’s promise of change and unity collided with racial and political realities.


Puerto Rico – Arroz con Gandules


Part foodie, part travelogue, part genealogy, Family Ingredients follows acclaimed Hawai‘i restaurateur and sustainability hero Ed Kenney, as he meets with different individuals in the Islands, and follows each person’s cherished food memory to its origin around the globe. He takes off to explore Okinawa, Tahiti, California, Japan, Puerto Rico and the Hawaiian Islands, showcasing how cuisine can profoundly unite cultures, communities and families.


Puerto Rico – Arroz con Gandules
Puerto Rican pride thrives in Hawaiʻi. Ed Kenney meets up with entertainer Tiara Hernandez, whose family grew up in Waikiki showrooms. They follow a culinary path to a country she’s never seen to learn more about her heritage.


Divided States of America, Part 2 of 2


Days before the inauguration of the 45th American president, FRONTLINE looks at how events that occurred during the Obama presidency have revealed deep divisions in our country and examines the America the next president will inherit. This two- part program offers an in-depth view of the partisanship that gridlocked Washington and charged the 2016 presidential campaign, the rise of populist anger and the racial tensions that have erupted throughout the country.


Part Two
Examine racial tensions in America, the war for control of the GOP and the growing dysfunction in Washington.


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