Known in Hawai‘i as “Rap,” James Kawika Pi‘imauna Reiplinger (1950-1984) was part of a new wave of comedy in the 1970s, appearing on TV screens to offer a vision of hospitality different from what was presented by the tourist industry. Rap remains one of the most famous comedians in the islands, whose influence is, as the Honolulu Star Bulletin explains, “seen and heard in the material of almost every local comedian that followed.”1 Still, despite his popularity and legacy, Rap’s work has been an understudied archive, especially in relation to the rise of tourism and the antidevelopment movements of the time. While scholars have analyzed the humor of later comedians such as Andy Bumatai, Frank De Lima, or Augie T, Rap, as an earlier voice whose “genius” was cut short by his untimely death, offered politically charged humor laden with anti-tourist hostility, with his characters representing a much more confrontational form of “Hawaiian” hospitality.2 As Rap’s humor shows, the rise of tourism led to humor that reaffirmed the values of Hawaiian and local culture in the face of outsiders visiting the islands in the millions. The period of the 1970s and 1980s was an era of mass tourism for Hawai‘i that spawned island-based media productions masquerading as tourist advertisements, pitched to a continental U.S. audience. The best-known production, Hawaii Five-O, began in 1968 and inculcated a new audience with stereotypes that portrayed the islands-as-paradise to lasting effect. Recapitulated in its 2010 reboot, Hawaii Five-O, both in its original and current form, does little to go beyond representations of Hawai‘i as an exotic locale. Most notably, the original production

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夏威夷人的热情好客和敌意

James Kawika Pi'imauna Reiplinger（1950-1984）在夏威夷被称为“说唱”，是 1970 年代新一波喜剧的一部分，出现在电视屏幕上，提供了一种不同于以往的热情好客的愿景。旅游业。说唱仍然是岛上最著名的喜剧演员之一，正如火奴鲁鲁星报所解释的那样，他的影响力“在几乎所有随后的当地喜剧演员的作品中都能看到和听到。”1 尽管如此，尽管他的知名度和遗产，但说唱的作品一直是一个研究不足的档案，特别是在旅游业的兴起和当时的反发展运动方面。虽然学者们已经将安迪·布马泰、弗兰克·德利马或奥吉·T、说唱等后来的喜剧演员的幽默分析为较早的声音，其“天才”因他的英年早逝而缩短，提供充满政治色彩的幽默，充满反旅游的敌意，他的角色代表了一种更具对抗性的“夏威夷”热情好客。2 正如 Rap 的幽默所表明的那样，旅游业的兴起导致了幽默，重申了夏威夷和当地文化的价值面对数以百万计访问岛屿的外来者。1970 年代和 1980 年代是夏威夷的大众旅游时代，它催生了伪装成旅游广告的岛屿媒体作品，面向美国大陆观众。最著名的制作，夏威夷五角，开始于 1968 年，向新观众灌输刻板印象，将岛屿描绘成天堂，效果持久。在 2010 年的重新启动中，夏威夷 5-O 的原始形式和现在的形式都没有超出夏威夷作为异国情调的地方的表现。