Honolulu

LONG STORY SHORT WITH LESLIE WILCOX
Skylark Rossetti

 

Original air date: Tues., Aug. 12, 2008

 

Radio Personality

 

Leslie Wilcox sits down to share stories with a delightful woman with a beautiful voice – Honolulu Skylark.

 

This popular radio personality, whose real name is Jacqueline Rossetti, reflects on her early influences and what would become pivotal experiences in the Hawaiian cultural renaissance – visiting Kaho‘olawe with George Helm and others, co-founding the Nā Hokū Hanohano Awards, hosting the Merrie Monarch Festival for over 30 years, and being named Outstanding Hawaiian Woman of the Year (1984) and Hawaiʻi Broadcaster of the Year (1991).

 

Skylark Rossetti Audio

 

Download the Transcript

 

Transcript

 

Aloha no, and welcome to Long Story Short on PBS Hawaiʻi; I’m Leslie Wilcox. The Honolulu Skylark. I remember the first time I heard her on the radio. It wasn’t just the beauty of her voice, or the image of a Skylark, that held me. It was her knowledge and understanding of Hawaiʻi people, music, history, values. In the radio industry where companies and personnel tend to come and go, the Honolulu Skylark has made a lasting impression. We’ll catch up with her next.

 

The Honolulu Skylark is Jacqueline Rossetti. Her warm voice and warm personality became a fixture in island radio in the mid-1970s. Since then, she’s been named Hawaiʻi Broadcaster of the Year and Hawaiian Woman of the Year. And today, she lives and works on Hawai‘i Island where she’s known simply as “Skylark.”

 

When people talk about you, they say, popular radio personality, Honolulu Skylark, or beloved personality. And they say something with you that I don’t hear about them saying with other DJs; it’s influential radio personality. What happened? What did you do?

 

I think I listened, Leslie. I had a passion and care for keeping our culture alive. I wanted to know why songs were written; I didn’t want to just hear the songs. I wanted to talk to the composers. And so I armed myself with going out and meeting them, caring about why they wrote a particular song, what inspired them. I wanted to hear about the careers of people that I had heard their music over the years. One of my favorite people, Alvin Kaleolani Isaacs, his big band, syncopated swing era; I loved that. And so he said, Why would you want to be interested in talking to me? I said, Because you did this, you were the ambassador of good cheer in the 30s. Why did they call you that, Uncle Alvin? And so I would sit with them, and they would tell me their stories.

 

Well, you’re going back to the 30s now. How did you know about them?

 

Well, because I had old 78s; I collected records. You know, Mom kept her collection, and that’s what started my collection. ‘Cause she would have to practice her hula to these old recordings. And so I started listening to them, and I loved the swing era, and I loved that sound of Hawaiian music with big band. And so, when I had the opportunity to seek these people out, I wanted to make sure that their stories were told, or that somebody could you know, share them with the rest of the audience so that we could all learn about that era of Hawai‘i.

 

At that time, was there Hawaiian music on the air?

 

There was one station, and that’s why I was so excited about getting an opportunity to work there, was KCCN. They were the only —

 

AM?

 

It was an AM station; it was from sunrise to midnight. And it went off the air at midnight, and it was an opportunity to share. And I have to laugh, because back then, it was the other side of Hawaiian music, as Krash Kealoha, who was the program director at the time, would call it. They were doing the Funky Hula, and they were doing you know, all this different kinds of hapa Haole, almost, music. And I wanted to bring back the Hawaiian, the traditional Hawaiian. I wanted to hear Genoa Keawe on the radio again, ‘cause she wasn’t being heard. I wanted to hear some of the traditional music.

 

And did they think that old school, it wouldn’t —

 

They did.

 

— draw an audience —

 

And they said —

 

— people don’t care.

 

No; and I kept saying, No, they do want to hear about this. I want to play chants; I opened my show every morning with a chant, because I felt that was important for us to hear that we came from, you know, beats and chanting before. And every program that I watched as a child growing up, with Aloha Festivals, you had a chanter come out and welcome everybody; and I wanted that when I performed and did my radio show. So I would open my shows with chants, and explain what those chants were about. And people started to listen, you know. They hadn’t heard the language translated in quite sometime.

 

And then you would get a chance to do something that radio executive Mike Kelly would say, changed the radio landscape of Honolulu forever.

 

 

Is that putting it—Hawaiian music—on the FM then?

 

Yeah.

 

You know, somebody didn’t want it; I don’t know why. They didn’t feel that Hawaiian music was worthy enough for FM, or something; I don’t know. Every format had been covered in FM, but Hawaiian music. And I said, Why don’t you put Hawaiian music on the FM band? And they said, Well, will you do it? I said, Absolutely. Why shouldn’t it be on the FM band? Well, what kind of music would you play? Hawaiian music. You wouldn’t put the chants on FM, would you? Yes, I would. You know. And so it was an opportunity to hear chanting, in stereo, and music that has been recorded in stereo for years but never on a stereo band. It was exciting. It was a wonderful time period.

 

A popular broadcaster today, Billy V, Bill Von Osdol, says you were his radio kumu, and he was so thrilled when you called him over to work at KCCN FM. And he said, basically, you folks built the studios.

 

We did. I mean, we hammered the nails, and we [chuckle] I mean, from the ground, up. It was nothing but an empty room and they said, Go put up a radio station in there; and that’s exactly what we did.

 

And once you got this traditional Hawaiian format going, how did it do?

 

It did really well, Leslie. I was amazed at how many people were listening. I had no idea that the young kids would gravitate to it so well. I thought, Okay, sure, we add a little color with the Jamaican music, and you know, that will keep the young kids. And then we get the kupuna and have their style of traditional Hawaiian music. But could it actually blend, and would it actually work? And it did. We did a concert at the Aloha Tower; it was the first of many which now has become the FM100 Birthday Bashes, right? And we took over Aloha Tower at the time, ‘cause it was gutted, it was empty. And I couldn’t believe how many kids showed up. We thought maybe hundred kids; there was three thousand people the first concert we threw. And it was Kapena and Ho‘aikane, and just our local bands. It was nobody, you know, fabulous to come and see; just kids that wanted to play music.

 

And pretty soon, we did these on a monthly basis. And we had to move out of Aloha Tower. We just — there was no room for us anymore. And that’s what started the first FM100 Birthday Bash at the Waikiki Shell.

 

Na Hoku Hanohano; you are a three-time award winner, and I always hear your name when people talk about the founding of the Hoku Hanohano Awards. Tell me about it.

 

It started as our small, little radio station promotion. We realized that, you know, in one year, we had double the amount of recordings. And I said to Krash, Look at this, we had thirty-six records this year recorded, and if next year it’s up to seventy-seven. And he said, We should do something about it; we should honor these people in the recording industry. And as a small, little radio station promotion, it turned into the Hawaiʻi Academy of Recording Arts, and we mimicked ourselves after the Grammy Awards because we thought that’s what we could be, a Hawaiian Grammy Award.

 

Did you have a budget for it?

 

Oh, yeah; all of three hundred dollars. [chuckle] We had to beg and barter, and back then, we you know, went to the Ala Moana Hotel and said, Do you want to have this event? And they looked at us like, Hawaiian music? Yeah, we want to honor our Hawaiian music. And it’s interesting, because people like Melveen Leed, they could walk down the street and nobody knew who they were. Now, Melveen Leed walks down the street, and she’s a star. You know, and we sort of, you know, did that; we made stars of our own entertainers that were just going unnoticed in our lifestyles.

 

You knew Brudda Iz, Israel Kamakawiwo‘ole very well. And I’ve read that you pointed out something about him, which is that he really didn’t come prepared to the studio.

 

Never.

 

And as a result, for example, in the song that has gone platinum all over the world, you know, you hear some incorrect lyrics and —

 

Lots of incorrect. [chuckle]

 

— consolidating lyrics. He changes chords.

 

Israel’s own interpretation of what the song is supposed to sing like. And it’s because he gets inspired, and you go into the studio, and he’ll just sing whatever comes to his heart. And he must have been thirteen or fourteen years old when I first met him. And they would call me up on the radio; I wasn’t at KCCN at the time. I worked at a station that — KNDI, at midnight played Hawaiian music when KCCN went off the air. And I think that’s what lured them to have me come to join KCCN, was I was doing a midnight to eight in the morning Hawaiian music show. And the entertainers were calling in and — and listening to me and —

 

And I bet Iz called you all the time.

 

He did.

 

[chuckle]

 

He and Skippy.

 

And he continued to —

 

And their group.

 

— do that most of his life, called —

 

Oh, he did.

 

— folks up, and had his say.

 

He did. He loved radio; that kept him entertained. And he said, Come on out to Makaha; I have this group, I want you to hear us. And I went out there, and there they were; just these kids in, you know, puka clothes, and just — but their harmonies and their voices, and their family unit was so endearing, and I just loved them. And I brought them to KCCN, and did their first recording, and we started playing — this was when we could play bootleg music on the air. And so that’s how they started their career.

 

And you went and sought them out, and they knew it.

 

Yeah; they did.

 

You gave them a voice they really didn’t have. But what would move you to go all the way to Makaha to talk to a couple of teenaged boys about their music?

 

Once I drove into their yard, and Mama and Daddy were out on the porch, I said, Oh, my gosh, I found myself home. And I just — you know, they were just this sweet family, opened up their hearts to us, and to me, you know, and I just, you know, I felt like home.

 

Skylark’s passion for the people and traditions of Hawaiʻi resonated with listeners at a time that Hawaiian music and culture were going through a renaissance. That’s when she really found her “voice.”

 

Well, let’s go back –

 

Okay.

 

— ‘til way before the Honolulu Skylark emerged. Where’d you grow up? What was your growing up like?

 

It was a wonderful Hawaiian family. The Mahi’s are my mother’s background; she had ten brothers and sisters.

 

Are you related to Aaron Mahi, the —

 

That’s my —

 

— former band leader?

 

— first cousin. Yeah; his father and my mother are brother and sister. There were ten children in that family, and they all had four or five children each. And so we had a wonderful family home in Kalihi, where my grandfather lived, and our families built their beach house in some property that my grandmother had right across from what we call Baby Beach Park in Ka‘a‘awa. So our family spent weekends in Ka‘a‘awa and weekdays going to schools in the Kalihi area.

 

When you say it was a Hawaiian upbringing, what does that mean?

 

When you’re in a Hawaiian family, you learn nurturing of values and living off the land. And we did things like hukilau and did our own imu and kalua pig, and you know, fished. And it was just a warm, family thing. We all slept together in the same beds, and we all bathed together. [chuckle] You know, it was that kind of a family.

 

Rossetti doesn’t sound terribly Hawaiian.

 

No, my father’s pure Italian, and Mama and Daddy met in Pearl Harbor. And he just loved our family and became more Hawaiian, almost, than my mother. She wanted to be Americanized. You know how that was —

 

That was the —

 

— back then.

 

— generation, World War II.

 

That was that generation. And Dad wanted to be Hawaiian; he wanted to learn to fish and hukilau, and you know, do all of those things. And so he gravitated more to being Hawaiian than Mama did. And he loved the brothers and sisters, and just got along very well with them.

 

And traditional Hawaiian music; when did that come into your life?

 

I think it had always been surrounded in my life. My father — and I have to give him credit, because he loved things Hawaiian. And during our raising up, Dad was involved with something called Aloha Week back then. And he surrounded us with just wonderful mentors that were our aunties. I didn’t know that they weren’t really related to us, ‘cause we always had — everybody was aunty and uncle.

 

So your pure Italian dad —

 

Yes.

 

— and not your full-blooded Hawaiian mom introduced —

 

Thank you.

 

— you to this.

 

Yes. And he was, you know, hanai’d by Auntie ‘Iolani Luahine, and Auntie Sis Wiederman, and these wonderful pillars of Hawaiiana. And they nurtured my father in this business. I remember watching Auntie ‘Iolani dancing at ‘Iolani Palace in these beautiful Hawaiian pageants. And I said, That’s what I want to do; I want to keep our culture alive.

 

I never saw her dance in person. Is it true what people said, that when she danced, it was as if something else was inside her, living through her?

 

Absolutely. Auntie enjoyed an inu, and when we were at parties, after the big pageantry, she would have an inu or two. And then all of a sudden, she’ll hear a song that somebody’s dancing or singing, and she became a whole different person. And you’d look at her like, what happened, what possessed her. And she’d just start dancing or chanting, or — she was just a marvelous woman. And then after it was pau, it was like, Oh, where am I?

 

[chuckle] And she’s —

 

And she went back to —

 

— back at the party.

 

— hanging out —

 

Yes.

 

— at the party.

 

Absolutely. And she was just a gracious, lovely lady.

 

So your dad worked for Aloha Week, or volunteered for Aloha Week?

 

It was a volunteer thing for over forty years of his life. He’s director emeritus, if you look at the — well, I don’t know where we are with that right now. That breaks my heart terribly to see an organization like that starting to fall apart on the neighbor islands. But it got to me see what life on Kaua‘i was like, what life on Moloka‘i was like. Because we would go from week to week to the different —

 

M-hm.

 

— islands, meet some wonderful people who all cared about the culture. I don’t know if you remember; we used to spend time at Ala Moana Park when there was an Ulu Mau Village.

 

M-hm.

 

And they had all the little places that you could go and visit and learn your culture, and pound poi, and watch them weave. It was just a marvelous time to grow up.

 

And later, they moved that by He‘eia Kea.

 

He‘eia Kea; but it wasn’t the same as in Ala Moana Park, where it was closer to the people, and people could come and visit.

 

And that’s what Waikiki is trying to move toward now, having lost some of that authenticity.

 

Absolutely. Yeah.

 

So here we are; going to Kamehameha. Did they infuse you with Hawaiian?

 

I think there were wonderful people up there, like Auntie Nona Beamer, who was encouraging you to, you know, learn hula and to dance. And I had always been a part of the music scene. Mama was a hula dancer with Hilo Hattie, and she toured with the Al Kealoha Perry Show and danced at the Lexington Hotel in New York. And so she — you know, she always had her music with us, and she always taught us hula. And then we went to formal training in our neighborhood where we grew up in Foster Village with Auntie Rose Joshua. So we — at the age of five, we were dancing hula and chanting, and you know, uniki’d by the age of fifteen. And you know, I didn’t know what that was back then, but it was just a part of how we grew up. You know, and how brothers and sisters would drum and beat the tin cans or the cracker cans in those days for the Tahitian music. And it was hula schools, where you learnt ancient hula, auana hula, Samoan dancing, Tahitian dancing, and Maori dancing.

 

We talked earlier about the Hawaiian renaissance. One of the highlights of that period, besides the return of traditional music, was Kaho‘olawe and freeing the island from target bombings by the military. Were you involved in that?

 

Well, you remember the gentleman who started the theme and raised the theme of Aloha ‘Aina, aloha awareness: entertainer, musician, and a dear friend, George Jarrett Helm. In fact, I named my son after him; that’s how close we were. A wonderful family of Moloka‘i. And you know, he could sing, and his beautiful voice would transcend to the kupuna. And then when he would talk to them about aloha ‘Aina, they could relate to him. And then he started to say, This island is not a distant rock; don’t bomb it. I live right there; I can hear this. It’s paining me to just watch this smoke go up. Why are we continuing to do this? And it was his thought, his vision of freeing that island from the harshness of the bombing, and watching the red dirt surround the islands; it almost looked like it was bleeding, the island was bleeding of its red dirt. And he said, We’ve got to stop this. He went to the legislature. And I’m sure you know, people can look at the history books; he gave his life for that island. And I think we were in the early stages. Women were like Auntie Emma DeFries, who I was studying under at the time, a dear friend who I grew up with up. Auntie Frenchy DeSoto said, Do you want to go to the island? And this was in the days when nobody was going to the island; they had just arrested the nine protestors on the island, and they were giving us an opportunity to go in legally and to look at the island. And I was one of those first seventeen onboard. We were called the first warriors, as they call us today, but we went to take the kupuna to see so that they could see that it wasn’t just a rock. We weren’t bombing just a rock.

 

Did you feel any mana, or anything special on that island?

 

 

Oh, you could feel the island; you can still feel the island today if you to got Kaho‘olawe. It’s just chicken skin. You were there with your camera; you saw how beautiful that island is. And you know, to walk the ancient trails, and to see, you know, poi pounders and shell carvings that you don’t see on any other island except Kaho‘olawe; it was exciting. Dr. Patrick Kirch did this whole study that we were a part of, and we looked at how the sediments of the earth and how the people — it was just m-m, magical, wonderful.

 

You’re telling me something I didn’t know. Do you think it was George Helm who bridged, you know, he went from music to cultural –

 

I think it was. I think he had this magical voice that could attract people to listen to him, and then he could tell his story. He could say, Hey, this island needs to stop this bombing. And I think that’s the way he got the message across.

 

And that was a multi-generational protest and rally, and in the end, very successful.

 

And he —

 

Except —

 

— got; yes.

 

— now we can’t free the island of all the ordnance.

 

[chuckle] And you know, it’s sad, because here we thought that was what was going to happen with all that money being dumped into — we were gonna be able to get it all off the island. And when we were there, we had no idea we were tromping around with live ordnance on the island.

 

M-hm.

 

You know, and here we are, taking kupuna and flying them from districts. And Inez Ashdown, who was raised on the island, you know, was in our party, and she was telling the story of how the goats were here, and this water tank was here. And you know, we had no idea that we were tromping her through live ordnance. But we were so passionate, and we were so excited at the time to document these stories. And Uncle Harry Mitchell being with us, and you know, him sharing his passion for the island, because his son and — yeah, it was a wonderful time.

 

Rich cultural experiences have shaped Jacqueline “Skylark” Rossetti’s life. Today she’s a single mom living in Hilo – she wanted more a country lifestyle for her children. She’s still broadcasting and still promoting the Hawaiian culture.

 

You’re still the Honolulu Skylark, but for the last almost twenty years, you’ve had a neighbor island perspective.

 

You know, it’s interesting, because I grew up on O‘ahu in a rural area, right across from Radford High School in a little village called Foster Village. And we had cow pastures in the back yard, and chickens, and so to me, moving to Hilo where my mother is from, it was almost like I had to because that’s what I wanted my children to grow up knowing, was a rural area where we could have dogs and cats, and not live in an apartment or you know, the hustle and bustle of how Honolulu had changed so. And I could go down the street, wave to my neighbor, and he would wave back to me. I mean, that’s what I grew up knowing. And that’s what I still look at Hilo – as a wonderful place to ensure that the foundation for my children was there.

 

Are you happy with the state of Hilo radio?

 

I think it’s unique; it’s growing, it’s changing. You know, we don’t command the advertising dollars that we could get with Honolulu, but we’re a unique market. And I enjoy, again, like I did with the old kupuna, going out and meeting who these people are, what they’re doing. We have wonderful farmers like Richard Ha doing some wonderful things; Barry Taniguchi, who’s had this store in Hilo forever. And you know, bringing that into the mix, where people can understand who our community is, is just endearing to the listeners.

 

Well, how optimistic are you about this Hawai‘i nei?

You know, Leslie, I am very concerned about where we’re going. I work – another hat that I wear, Leslie, is economic development. And I find that isn’t that odd, as a Hawaiian being in economic development. But if I don’t get involved and make sure that the culture is okay, then I don’t feel that I’ve done my duty here. And Hawai‘i Island Economic Development is into sustainability, is into getting back — instead of shipping everything in, growing it, making sure that our island can be sustainable. And it’s hard. You know, there’s lots of stuff going on that are influencing, lots of pressures with Mauna Kea issues, lots of pressure with water right issues. And we just had an earth shake in October of ’06 that devastated water on our island to get the cattle fed. You know; fresh water. I mean, who is going to replace those ditches? You know. It was a wake-up call for us, on the neighbor island folks – that we’ve got to ensure, you know, that we’re strong and healthy. You know how they say you’ve been at the right place at the right time? I think I was very lucky enough to be at the right place, at the right time to be able to have mentors take me in and want to train me, like Pilahi Paki is one of my – a very stalwart woman who I just admired, and who taught me so much about who we are, and what we are as a Hawaiian, and made me proud of who I was. I endear myself to people to like Moe Keale, who you know, was this big, old bear, you know, but just had that love and aloha for people, and it transcended through his music. There’s just so many people who are – influence on me, that I want to thank them for helping to shape me. Because if they didn’t share their stories, I wouldn’t have them to share with other people.

 

Of all of the musicians, the entertainers, and others you’ve come across in your career, who’s impressed you the most?

 

You know, it’s funny you would say that. There were people, like I mentioned earlier, Alvin Kaleolani Isaacs was a dear man who had that 30s and 40s era. And then in the 50s and 60s, I would have to say there were people like Ed Kenny and Marlene Sai, and those people and those voices that shaped Hawaiian music that I’ve gravitated to as dear friends. And then in the 70s, it would have to be my friend Gabby Pahinui. I loved Pops. He just transcended this down-home earthiness about him, with that little kolohe style like Israel, always getting himself in trouble with his wife. But just this raw, loving, caring person. And then, of course, my friends from when I went to high school, Robert and Roland Cazimero, and you know, we were all at school at the same time. Keola and Kapono Beamer, they were all much older than I am, but you know, that era of music too.

 

Skylark continues to share her voice and her stories, hosting radio shows and, for 30 years, the Merrie Monarch Festival of hula. She has a beautiful voice. And she is a beautiful voice, speaking with understanding and love of the islands. Mahalo to fellow broadcaster, Skylark Rossetti and you for joining me for this wonderful Long Story Short. I’m Leslie Wilcox of PBS Hawaiʻi. A hui hou kākou!

 

How would you intro a new show that you’re doing?

 

How would I intro? How about, From the snow-capped mountains of Mauna Kea, to the warm, sunny shores of Waikiki, you’re listening to Hawaiian music that will transcend your heart and deepen your soul. I don’t know; I just made something up. I didn’t know what you wanted me to do! [chuckle]

 

I wanted you to keep going! [chuckle]

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Mahealani Wendt

LONG STORY SHORT WITH LESLIE WILCOX: Mahealani Wendt

 

Growing up in the crowded, rundown tenements of downtown Honolulu, Mahealani Wendt witnessed the poverty of the Native Hawaiian people around her. That ignited a passion to help, and she spent more than three decades fighting for Hawaiian rights, with a long run as the Executive Director of the Native Hawaiian Legal Corporation in Honolulu. Today she lives in Hāna, Maui, and is a poet and author.

 

Program

 

More from Mahealani Wendt:

 

“Righteous Cause”

 

Hawaiian Homeland

 

This program will be rebroadcast on Sunday, March 24, at 4:00 pm and 11:30 pm.

 

Mahealani Wendt Audio

 

Download the Transcript

 

Transcript

 

When I went to Native Hawaiian Legal Corporation, I’m not sure that the most effective thing I could do there was as an attorney.  I worked as a volunteer, I worked as a grants writer.  I knew nothing about writing grants.  You know, a lot of times, you’re fueled just by passion, and you have so much … I don’t know how else to put it.  You know, you just feel so, so intensely about something, and it drives you, and you do everything you have to do to make it happen.  And that’s how I became a grants writer.

 

Her success as a volunteer grant writer led to a thirty-two-year career fighting for Native Hawaiian rights.  Mahealani Wendt of Maui, next, on Long Story Short.

 

One-on-one engaging conversations with some of Hawai‘i’s most intriguing people: Long Story Short with Leslie Wilcox.

 

Aloha mai kākou.  I’m Leslie Wilcox.  Mahealani Wendt is the retired executive director of the Native Hawaiian Legal Corporation, a community activist, accomplished writer, and poet.  She’s the eldest of seven children, grew up on Kaua‘i and O‘ahu, and now lives on farmland on Maui in Wailua Nui along Hāna Highway.  She knew from the time she was nine years old, living in the rundown tenements of Downtown Honolulu, that she wanted to help others.  She was deeply affected by the poverty of Native Hawaiian people she saw around her, and despite being poor herself, she says she was raised in a loving, nurturing environment, and never went hungry.  In childhood, she developed a love of writing and reading.

 

My father is Spanish; he’s second generation.  My grandparents emigrated from Spain in 1906.  They were plantation workers, the first sugar plantation in Hawai‘i, Kōloa Sugar. And so, they settled on Kaua‘i. And eventually, he met my mother, who’s from Hilo; she’s Hawaiian.  And we grew up on Kaua‘i there.  It was very beautiful, very country.  We had horses, cows, pigs, chickens, raised every kind of, you know, fruit tree, we had a garden. We were cray fishing, climbing trees; all this stuff we did, it was beautiful.  My parents separated.  You know, we were pretty innocent; we never understood what happened.  We just knew that one day, my mother decided that we were going to move, and she brought us to Honolulu.  It was a really different lifestyle.  You know, it was kind of an idyllic life, country life, and we moved to the heart of Honolulu, to the tenements.  And I still remember our address; it was 1278 Fort Street.

 

Fort Street.

 

Yeah; Fort Street, and there were twenty-seven steps going up to the second floor where we lived.

 

This was an old, beat-up building.

 

Yeah; it was the heart of the slums, the tenements in Honolulu.  This was in the 50s, mid-50s, and these tenement buildings, the closest thing that would kind of resemble it would be the buildings in Chinatown.  Those are far more well-maintained than the ones we lived in.  The buildings we lived, I’m now understanding, they were at least fifty years old.  They were wooden, they were termite-eaten.  They were firetraps, basically, you know, not fit for people to live in, but we lived there.  My mother, when she left, you know, didn’t have really the means to support all of us, and so … that’s where we lived.  Some slept on the bed, some slept on the floor.  We had, I think, three showers, cold water.

 

On that floor?

 

In the building.

 

In the whole building?

 

Everybody shared.

 

And how many people were in the building?

 

There were fifty-two rooms. There were three areas where we could do our cooking.  There were kerosene stoves.

 

Was it dangerous?  I mean, I know from a fire standpoint, it was dangerous.  What about from a human standpoint in a rough part of town.

 

It was a rough part of town. From my standpoint, I never saw any danger, I never experienced any danger.  It was a new world; I thought it was really kind of cool and exciting. New kids to play with, new people to meet, new aunties and uncles.  All Hawaiians in that building.  You know, in the same way they do now, the aunties take care.  So, we felt very protected and free, and I never felt any danger.  If you were entering from the sidewalk, you know, there were these narrow steps that went to the second floor.  And the pool hall was downstairs, next to a Chinese restaurant, next to a grocery store, next to, you know, all these different kinds of—

 

So, it felt like a neighborhood to you.

 

It did; totally.

 

No creepy people hanging around.

 

I never remembered any creepy people.

 

You know.  And I mean, when I think back on it, I think: Wow, it would be like, you would think there would be creepy people, but in my child’s eyes, I never saw creepy people.  To me, they were really nice; nice people.

 

And you felt adults were looking out for you, too.

 

Yes, we did; we felt very protected.

 

I wonder how your mom felt with seven kids to take care of.

 

We owned our own home on Kaua‘i. My grandparents homesteaded twenty-five acres there, and you know, the lands are still there.  So, you know, what caused her to feel so compelled to move, we never understood.  I never even understood it as an adult.  But there we were.  It must have been very stressful; we were really poor.  I sold newspapers.  I thought that was really cool, ‘cause I could have spending money, you know, and stuff. I was selling newspapers.  My corner was Fort and Kukui, and I sold the Honolulu Advertiser.  I sold forty papers, made a dollar.  And then, that was my lunch money.  I made most of my money from tips, ‘cause I was so young.  You know, I was like, nine years old, standing on the corner with newspapers.  Oh, poor thing, you know.  So, they’d give me a dollar.  Wow, that’s a lot of money.  That’s what I would make for the whole, you know, selling forty papers.  So … I thought it was great.

 

M-hm.

Again, the perspective.  You know, as a child, I was innocent.  I saw all of it as a great excitement.  It was just a different thing, you know.  I mean, one thing, for example, when we lived in Kauai, the store was really far.  You know. When we moved to Honolulu, the store was downstairs.

 

It was amazing.  I was just like, enthralled, you know.  When I lived on Kaua‘i, we’d go to the movies once, you know, every six months or something.  When we went to Honolulu, we lived next to the theater.  You know.  So, that’s how I saw it from a child’s sort of sense of wonder.  It wasn’t until I was, you know, older, maybe intermediate school, I sort of kinda understood that we were really poor.  And then, as I got older, I realized that, you know, the auntie that, you know, was so sick, and da-da-da, this is why.  And then, I realized that, you know, so-and-so, that you know, we really thought was really a cool guy, he’s in jail because he did this.  You know, so I had a sense of perspective, but it was afterwards.

 

After the fact.

 

Yes.

 

Did you ever connect with your father again?

 

Yes.  We saw him as we could afford to.  I think he would send money and, you know, we’d go.  But it wasn’t very often.  And he came to visit us once.  You know, he was not a Honolulu man; he was a hunter, a fisherman.  He would come back from the mountains with, you know, these burlap bags full of ‘o‘opu to feed our family.  You know, very subsistence lifestyle.  When he worked, he worked as a heavy equipment operator, kind of a laborer.  I loved my dad.  Both of my parents read to us.  My father would put us on his lap and read.  You know, those experiences.  I came to really love literature and reading from both parents.  My parents were very good parents, in spite of the separation. And my mother was very strict; she taught us very fundamental values, and we were expected to, you know, adhere to them.  And if we did not, the punishment was swift and sure.  All of the kids turned out good.  I went to Royal School.

 

Royal School.

 

Yeah.

 

Okay; elementary.  And then?

 

I went to Royal Elementary, and then I went to Central Intermediate.

 

And then?

 

And then, I went to Kamehameha in my sophomore year.  I liked public school.  Public school was awesome; I learned a lot.  You know, again, the common theme of, you know, this love of literature, that was more than reinforced in the public school.  In fact, at Kalaheo Elementary, where I went to, you know, from first to third grade, my second grade teacher, Mrs. Robello, encouraged me when I wrote a little poem for my mother.  You know how teachers do.  It’s so important.  She took my little poem, she put it on the wall.  You know how teachers, you can encourage by telling everybody, you know. And when her students would make a little picture, she’d put that on the wall.  So, she had ways of encouraging and making you feel: Ho, this is something I can do.

 

How long were you in the tenements?

 

Well, we lived in Honolulu for three years.  There was a terrible fire in the tenement next door.

 

Another wooden building?

 

It was a wooden building; it was right next to ours on the next block, and it burned down.  And four people died in that fire.  One of the ones who passed was a three-year-old who was my brother’s playmate.  And so, it really affected everybody, the family.  It really had an impact on me.  And it was just … I don’t know; I’ll never forget it.  We stood out there and watched this whole thing happen.

 

And watched it burn down.

 

Yes.  We lived there until my mother could find someplace else she could afford.  So, we moved close to Queen’s Hospital; same sort of building, but not as big.  We lived there for another, like, three or four years, and then we moved, and we actually moved to a much nicer place. Things were getting better; you know, Mom could find work, and so, we moved to a much better place.

 

How formative was the experience of living in places like that, those two different buildings and the fire that took your acquaintances and friends?

 

I know that it has everything to do with my community advocacy work, especially on behalf of Hawaiians.  The people who made a difference in our lives when we were growing up were the social workers who reached out to us. They were so kind.  They were so kind to my mother.  And I grew up feeling that I wanted to be a social worker.  I changed my mind when I realized I didn’t have the fortitude.  I saw what they had to deal with.  And I’m a little bit emotional; I have a really hard time focusing, you know, when I see that.  I got older, I guess I gained a perspective.  As a child, I didn’t really understand what that environment was all about.

 

Yeah; you thought they were nice people.

 

I thought everybody was nice.

 

But they were carrying all this pain, I suppose—

 

Yes.

 

–that they saw.

 

M-hm.  And as I got much older, and we learned our history and, you know, the displacement, I started focusing on Hawaiians.  It happened kind of gradually.  I was, you know, someone who was intent on a social work profession, but I also had competing things that I was really interested in.  The literature thing was always an interest.

 

After graduating from Kamehameha Schools, Mahealani Wendt went to work for big corporations, first on the continent, and then back home in Hawai‘i.  She was good at what she did, but her heart was not in the corporate world.

 

Right out of high school, I lived in Texas.  And while I was in Texas, I worked for a very large insurance company, a national insurance company, and I learned a lot about corporate business.  And so, I worked there for five years, I worked my way up.  Then I came home to Hawaiʻi.  I worked for a local corporation called Crown Corporation.  They had a bunch of industrial loan banks, they had securities firm, they had insurance. You know, I mean, some of the companies are still around; a lot of them are no longer.  But you know, they were real estate developers; all of that.  I was into that.  And I was like an admin assistant to vice president.  So, I did that.  And then, I went to college.

 

That was good preparation.

 

Yeah, it was good preparation. But interestingly, I started doing the community activism, you know, the demonstrations and stuff when I was still working for this corporation.  And my boss, who was a vice president, said: Just don’t let me see you arrested, or on TV. You know, something like that.  I said: I’ll be fine.

 

You know, so I always like, had these two like, sort of identities there.  I would be this corporate thing at work, and then, you know, uh, the rest of the time, I’d be … and then, I decided I needed to go to school, because I needed skills to do the thing I wanted, which is [SIGH] effectuate social reform.  Working for business was really a survival thing for me.  I had good skills, I had good typing, accounting; those sort of things. I had skills that I could market very readily in the business environment, so that’s where I went.  But that’s not where my heart was.

 

So, you’re taking political science now at the UH.

 

M-hm.  I’m taking political science, and I have an opportunity to do an internship with Legal Aid Society, along with thirty other interns, students at UH Mānoa, political science majors.  And we’re placed at the Legal Aid Society of Hawai‘i at a time when, you know, we were coming into a growth of social programs, social economic programs in our community.  So, there was this quantum leap in legal services available to the community through Legal Aid.

 

Because there was more funding.

 

There was more funding.

 

More value placed on that.

 

Yes.  I chose to go with the so-called land unit at the time.  And in the course of my internship, I was assigned to work with community organizations in the Hawaiian community. And that sort of was a catalyst for my future work.  I attended law school, I left law school.  I was very active in the community.  I mean, actually coming into this kind of work, the genesis of it was community activism.  So, the early so-called land struggles—Kalama Valley, Kokua Kalama, He‘eia Kea, Waiāhole-Waikāne, Niumalu-Nāwiliwili on Kaua‘i, Mokauea Island—all of those struggles, I was there.  I was there. I was not there as a leader; I was there as someone who felt compelled to be there.  I really related to what the people were suffering, and I felt I had to be there.  It’s a combination of that activism and my experience at the Legal Aid Society leading me to Native Hawaiian Legal Corporation.  You know, it’s kinda like all boiled into the picture.

 

Why did you leave law school after college?

 

Well, I had children.  At that time, I was a single parent.  That was part of it; it was the economics of it. You know, when I went to Native Hawaiian Legal Corporation, I’m not sure that the most effective thing I could do there was as an attorney.  I found my niche was really talking to the staff about community; how community felt, you know, what was important.  Because sometimes the rigor of legal linear thinking separates you from community. And I think you need both.  So, I think it would have been fine to go through law school, but at that point in my life, I felt I would be more useful in bringing that perspective to the firm.  And I think that it worked really well.

 

And you worked your way up to heading the office; you ran the office.

 

Yeah.  So, the first position was an interim attorney who agreed to come over from private practice to sort of get us started.  The second was Melody MacKenzie.  Then after, I think, a year or two, the first gentleman moved on back to private practice after kinda mentoring us.  I became the third staff person.  And Melody MacKinzie was my boss for, I don’t know, maybe six, seven years. And she taught me so much.  I just owe her a great debt of gratitude.  She’s the kindest, the most brilliant mentor a person could have.  I mean, I just love her; I love her to this day.  She was the executive director, but I guess she was kind of, you know, having to do a lot of this admin stuff.  And it just seemed more efficient to have me do the administrative part, you know, deal with personnel hiring, firing, that sort of thing.  ‘Cause I had a background in it.  Melody has those skills, but she’s also brilliant; a brilliant jurist, a brilliant scholar.  You know, I mean, talking story as a staff, and it just seemed like, you know, a more sensible way to go.  And so, I guess in name, you know, I became the head of the organization, and then she could focus on cases and clients, you know, and I could just deal with the other stuff.

 

You did that for a long time.

 

M-hm.  Well, I retired after thirty-two years.  So, yes, I did it a long time.  It was fun.  I loved it.

 

What kinds of cases did your firm handle?

 

Well, our cases were all Native rights cases.  So, you know, they’re kind of characterized as the things that we require in order to be Hawaiian.  Hawaiians were being affected with respect to land tenure, their ability to hold onto their lands, ability to hold onto their natural resources, have access to it, ability to engage in traditional and customary practices that they require to be Hawaiian.  If their access to the ocean is cut off, then they can’t go fish, they cannot gather limu; these kinds of things.  The ability to exercise practices relating to their traditional religion, things that would impede it, ability to access their trusts, the Hawaiian Homelands trusts or the public lands trusts.  All of those things became our areas of focus.  We had genealogists on staff, we had title people on staff.  We had Hawaiian translators on staff, because we’re dealing a lot with archival documents, many of which are only in Hawaiian. So, we had people on staff who specialized in translating legal documents.  So, the shop is a specialty shop, you know, asserting the rights of native people.  And we did well.  There were many cases that we did, that I’m very proud of.

 

That was a very … just vibrant time, and also, it was a time of people coming into age and being very proud, and also running into a lot of walls, too.

 

Yes; yes.  And I think with knowledge comes power.  You know, and the more we’re able to understand our history—and of course, language is a window into culture, the more we understand our language the more we understand better who we are.  Part of that is having, you know, connection to land, connection to water, connection to ocean, continuing to keep traditional practice vibrant and alive. All of those things are important. And you know, ultimately, it’s about values.  And as many other peoples, including indigenous peoples, those values are really important, not only for us here as a people in Hawaii, and not only for all of Hawai‘i, but even globally.  You know, you join with other peoples.  There are certain values that are universally exalted as being life-affirming and necessary in order for, you know, humankind to thrive.  We can make a contribution, and it’s really, really important that we be allowed to be a people.

 

Why do we do this?  We do this because we love Hawai‘i.

 

A&B doesn’t own the water, the taro farmers do not own the water.  Our people own the water.  Ke Akua owns the water.

 

Ae!

 

Ae!

 

Ke Akua owns the water.

 

Ae!

 

For all of us.

 

So, let our people live, and let the ‘aina live, forever. [INDISTINCT]  Stand up so that we can make that happen.

 

Mahealani Wendt met her husband, Ed Wendt, through her work in native water rights.  He’s a taro farmer with kuleana land.  Where they live in Wailua Nui, in Maui’s Hana District, is beautiful, but as always, farming kalo is hard work.  Besides her passion for justice, Mahealani Wendt has always had a love for poetry and writing.  Even as head of the Native Hawaiian Legal Corporation, she found time to write, and has received numerous literary awards, both nationally and internationally. We’re going to close now with a reading from one of her poems that reflects back on her childhood.  Mahalo to Mahealani Wendt of Wailua Nui, Maui, for sharing her life story with us, and mahalo to you for joining us.  For PBS Hawai‘i and Long Story Short, I’m Leslie Wilcox.  Aloha nui.

 

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

 

At statehood, we trundled kerosene tankards over rutted Honolulu sidewalks, past beer halls, pool halls, taxi dancehalls, past honky-tonk dives, juke joints, and shoeshine stands, to rooming house kitchens where we lit our communal fires and kept vigil for the one day our nation would be restored.  The torches burned bright as we stood watch.  Our children, listless on tenement floors, their coverings prickling with insect filth, and the grit of ambient sounds, incessant scuttlings and winged scurryings inside squalid floors and walls, we sensed a slow collapse under the terrific weight of a people whose gods kept watch with them there. The minions of forest, river, and ocean gods, companions in these root places whispering their encouragements as generations of children turn to hear, like flowers brightening to sun.

 

[END]

 

 

Engelbert Humperdinck in Hawaiʻi

Engelbert Humperdinck in Hawai‘i

 

Recorded live in August 2018 at the historic Hawai‘i Theatre in Honolulu, this concert features Engelbert Humperdinck crooning more than five decades of his international hits, including “After the Lovin’,” “The Last Waltz,” “Release Me,” “A Man Without Love” and many others.

 

Engelbert Humperdinck in Hawai‘i

 

 

 

HIKI NŌ
#1014 – Top Stories from the Winter Quarter of the 2018-2019 School Year

HIKI NŌ #1014 – Top stories from the Winter Quarter of the 2018-2019 school year

 

This compilation show features some of the top stories from the Winter Quarter of the 2018-2019 school year:

 

–Students from Maui High School in Kahului introduce us to Maui High robotics captain John Fabella. John’s mother passed away when he was just seven years of age, and his father was deported. Growing up without his biological parents, John found an extended family in his Maui Waena Intermediate School robotics team and later, in the Maui High School team.

 

Program

 

–Students from Wai‘anae High School on tell the story of a female wrestler who used to be teased and bullied about her weight, and lost the pounds to regain her self-esteem.

 

–Students from Kalāheo High School in Windward O‘ahu focus on the importance of taking responsibility while driving. Their story is framed by the recent traffic fatalities in the Kaka‘ako neighborhood of O‘ahu and how that tragedy sparked a family’s memories of losing their daughter in a drunk driving incident.

 

–Students from Hawai‘i Preparatory Academy Middle School in the Waimea district of Hawai‘i Island show us the proper way to saddle a horse.

 

–Students from Ewa Makai Middle School on O‘ahu feature two cancer survivors who battled with their diseases at a very early age: Lily Mallory, who was undergoing treatment for her cancer at the age of three, and Emi Robison, who was battling leukemia at the age of seven.

 

–Students from Chiefess Kamakahelei Middle School on Kaua‘i introduce us to Mike Coots, a surfer and photographer from Kīlauea, Kaua‘i, who lost his leg in a shark attack and now, ironically, works to protect sharks against the ravages of the shark fin soup industry.

 

–Students from Maui Waena Intermediate School in Kahului feature a food truck owner who starts a pay-it-forward campaign to help feed workers affected by the recent federal government shutdown.

 

–Students from Moanalua High School on O‘ahu introduce us to figure skater and Moanalua High School senior Kyra Fukumoto. While Hawai‘i has only one ice skating rink, and its resources for training figure skaters is very limited compared to the Mainland, Kyra is adamant about being based out of her home state. She is very proud of being from Hawai‘i and looks forward to representing the islands in her career as a figure skater.

 

This special episode is hosted by Tyler Bright, a 2018 HIKI NŌ graduate from Wai‘anae High School on O‘ahu who is currently studying biology at Chaminade University in Honolulu, with hopes of becoming either a canine rehabilitation therapist or a physical therapist.

 

 

 

 

NĀ MELE: TRADITIONS IN HAWAIIAN SONG
Kenneth Makuakāne

NA MELE: Kenneth Makuakāne

 

Renowned songwriter, record producer and performer Kenneth Makuakāne offers a sentimental and candid performance inside historic Kawaiaha‘o Church in Honolulu. When Kenneth performs, he draws on vibrant memories and meaningful relationships. “It’s almost like going back in time,” he says. Among the songs he performs are “‘O Violeka,” an affectionate ballad for his mother, and “Ku‘u Pua Lei Mēlia,” inspired by his experience of sending off his oldest son to college.

 

Program

 

 

 



HIKI NŌ
#1007 – The 2018 HIKI NŌ Fall Challenge – Middle School Division

 

This special edition features stories from the Middle School Division of the 2018 HIKI NŌ Fall Challenge. On October 19, 2018, ten participating high school teams and twelve participating middle school teams were given four days to complete a HIKI NŌ story based on the theme “the story behind the food”. Teachers could not provide hands-on help. The students had to conceptualize, research, arrange, shoot, write and edit their stories on their own. The completed stories were scored by members of the HIKI NŌ editorial board based on the following criteria:

 

  1. How well did the story capture the essence of the assigned theme?
  2. How well did the entry fulfill the HIKI NŌ Story Criteria (the criteria used throughout the school year to determine which stories are approved to air on HIKI NŌ)?
  3. How much did production values (the quality of the cinematography, editing and sound) contribute to the overall effectiveness of the story?

 

Based on the cumulative scores, first place, second place, third place and honorable mention awards were given in both the high school and middle school divisions.

 

The winning middle school stories featured in this episode are:

 

–First Place: The Fall Challenge team from Wai‘anae Intermediate School in West O‘ahu opened their entry with a meal being prepared. The story behind that meal is that it is being prepared by and for residents of Hope Lodge, a Honolulu facility where families of Neighbor Island cancer patients who are on O‘ahu for treatment can stay.

 

–Second Place: Ewa Makai Middle School on O‘ahu told the story of Ali‘itasi Ponder, the woman behind Aunty’s Lil’ Green Hut, an organic, gluten-free food truck on O‘ahu’s North Shore.

 

–Third Place: Maui Waena Intermediate School in Kahului profiled an organic farmer on Maui.

 

–Honorable Mention: Kamehameha Schools Maui Middle School featured two women who met in college and went on to open a baking business together.

 

Also featured:

 

–Chiefess Kamakahelei Middle School on Kaua‘i highlighted Kunana Dairy, which specializes in goat’s milk products.

 

–Volcano School of Arts and Sciences on Hawai‘i Island introduced us to the family behind Dimple Cheek Farm and Café.

 

–Hongwanji Mission School on O‘ahu featured Kahuku Farms.

 

–Kealakehe Intermediate School on Hawai‘i Island told the story of a woman who is inspired to cook by the spirit of her late mother.

 

First place winners will receive $500 worth of production equipment for their school’s media program. Second place winners will receive $300 worth of production equipment for their school’s media program. Third place winners will receive $200 worth of production equipment for their school’s media program. Honorable mention winners will receive $100 worth of production equipment for their school’s media program.

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Hawai‘i’s Golden Age of Entertainment

LONG STORY SHORT WITH LESLIE WILCOX: Hawaiʻi's Golden Ages of Entertainment

 

Before their music reached audiences around the world, Marlene Sai, Danny Kaleikini and Emma Veary were known as staples of the local entertainment scene. Hear these three entertainers discuss the beginnings of their music careers in Waikīkī and other Honolulu venues.

 

Program

 

More from the guests in this show:

Danny Kaleikini

 

Marlene Sai

 

Emma Veary

 

Hawai‘i’s Golden Age of Entertainment Audio

 

Download the Transcript

 

Transcript

 

Was there a lot of music in Waikīkī in those days?

 

There was a lot of it.

 

Showrooms?

 

Because, you know, Duke Kahanamoku’s was a supper club. Don the Beachcomber was a supper club.

 

What a different time that was.

 

Yes; yes.

And at that time, we had so many theaters. You can’t believe how many theaters we had, that had shows.

 

Live shows.

 

Live shows.

 

When I was at the Kahala, I used to tell people: Hey, go see Brother Don Ho, go see Al Harrington.  I says, The Surfers, you know, I said, The Society of Seven.  I said: We got some of the greatest shows in Hawai‘i.

 

We often hear about the Golden Age of Hollywood.  Today, younger people may not realize that Hawai‘i had its Golden Age of Entertainment, though ours was mostly on stage instead of on the big screen. Coming up on Long Story Short, we will revisit the days when live music filled the showrooms of Waikīkī with three of the musical talents to command those legendary stages.

 

One-on-one engaging conversations with some of Hawai‘i’s most intriguing people: Long Story Short with Leslie Wilcox.

 

Aloha mai kākou.  I’m Leslie Wilcox.  On this edition of Long Story Short, we travel back to the Golden Age, an exciting time when live entertainment lit up hotel showrooms, when beautiful Hawaiian songs and popular performers backed by live orchestras drew tourists and locals to Waikīkī, night after night.  To recall this bygone era, we feature encore interviews with three musical icons who helped define that time: Emma Veary, Marlene Sai, and Danny Kaleikini.  These stars are considered by many to be among Hawai‘i’s showbiz royalty.  They were staples of the local entertainment scene, and their stellar careers spanned continents as well as decades, from World War II into the 21stCentury.

 

In 2008, we visited with Emma Veary, who spoke of how she began her professional career when she was still a child.  Her career took off, just as the era that would be called Hawai‘i’s Golden Age was getting going.  Decades later, Veary would still be headlining at the Halekulani and Royal Hawaiian, and her gorgeous voice would earn this elegant performer the nickname Hawai‘i’s Golden Throat.

 

I started working when I was five.  I’ve been singing since I was five, because I discovered that people wanted to hear me sing, and they would pay me.  And being from a family that didn’t have a lot of money, wow.  I had a special letter from the Liquor Commission so that I could go sing in clubs.

 

At age five?

 

At age five.  And Mother would go with me.  And I sang at all the big clubs.  And at that time, later on, as time went on, all of the celebrities used to go to the Waialae Country Club.  That was the place to go.  And I used to sing there on weekends, so I had the pleasure of meeting all these lovely stars.  And of course, a couple that you don’t know, but there was Rochelle Hudson, there was Bette Davis, and there was Dorothy Lamour.  And I had the pleasure of meeting Dorothy as a child, when she was a very young woman.  And again, when I was working at the Halekulani one night, they told me: Emma, Dorothy Lamour is here tonight.  And I went: Oh, my god.  So, I pulled out a medley of her songs, and sang them to her, and reminded her about when we met when I was a child.  And she said: Oh, my god.  She says: After hearing you sing those songs, I never want to sing them again.

 

Aw …

 

And at that time, we had so many theaters.  You can’t believe how many theaters we had, that had shows.

 

Live shows.

 

Live shows.  There was the Princess, the Hawai‘i, Liberty, Queen’s, King’s, Palace, Pawa‘a Theater, Kewalo Theater.  These are all no more.

 

They weren’t movie houses?  They were musical acts?

 

They were movie houses.  No, they were movies houses, but they would have music, you know, between the shows, like Radio City Music Hall.  You know, they would have some come on and perform in between the movies.

 

That was standard in those days, in theaters?

 

Well, they used to have a lot of that going on. Yeah.  So, I used to go and sing at all of these theaters.  And I sang at Hawaii Theatre so many times.  And then, while I was going through that phase in 1941, Joe Pasternak came to Hawai‘i and saw me perform somewhere, and asked me to come to Hollywood, and he would groom me to become a star.  And we had said okay, and I was supposed to leave on the 8thof December in 1941.  And the 7th, the war started.  So, he called me and he said to my mom: Does she still want to come?  So, my mother said: You have to ask her.  So, I got on the phone; I said: Well, Mr. Pasternak, inasmuch as there’s a war going on, I’d rather stay home with my family. So, I lost out on that one.

 

For those who weren’t living here or weren’t alive in the 70s, your name was the class act around town.  You were the headliner, maybe the first headliner at the Halekulani Hotel.

 

Yes, yes.  They didn’t ever have an act there.  And Hal, Aku, my husband at the time, and I talked to him about doing the act. And so, we went down and we were at the Royal Spaghetti House, and we decided we wanted to leave that venue and come to Waikīkī.  So, he went and talked to the Halekulani, and talked them into putting me on the lanai there. And because of the way the room was, I said: I’ve got to design a stage that would work for me.  So, I had an H, and I would put the piano on either side of the—it was an H like that, the piano here, the piano there, and I had a round H and I could work here, I could work here, and I could work between the pianos. And so, they built the stage that I wanted, and they built me a dressing room.  And on opening night, I went to work at the Halekulani, and they put a drape down in the back where the ocean was, to keep people from looking in.  And so, I said to them: Excuse me, what is that there?  And they said: Well, that’s to keep the people out.  I said: You know, you have one of the most beautiful views in Waikīkī. And I said: I want you to take that away.  They said: Well, we paid five thousand dollars to build that thing.  I said: Well, I don’t want to go on if you’re gonna have that there, because there are people passing by, they will become fans, they will become clients and come in to the show.  I said: So, I’m not gonna go sing until you put that silly thing out.

 

So, they wanted to block you from the beach.

 

Yeah.

 

Even though it was an outdoor venue.

 

Yeah; because the people would look in.

 

Well, I have a different point of view on that.  My vantage was, I was one of the beach people.

 

Right, right.

 

You know, the rubber raft.

 

Right.

 

The kids, and the young adults who were taking advantage of the free music in Waikīkī. You could go up and down the beach, and sit on the sand.

 

I used to call them my scholarship crowd.  And eventually, they call came in.  And they would come in and have dinner, an see the show.

 

And that was a phenomenon that I think a lot of people have forgotten or didn’t know. When there were live showrooms in Waikīkī, and there were the cheap seats on the beach.

 

Right, right, right.  But you know, I felt like: Hey, where would I be without these people? They are also people who will eventually come to see me.  My fans are very precious to me.  And I communicate, people call me, I talk to fans.  And I have a relationship with my fans because I wouldn’t be who I am without them.

 

In those days, wasn’t it called at the Halekulani, the Coral Lanai where you performed?

 

Yes, it was the Coral Lanai.  Yes.

 

It wasn’t the House Without A Key; it was Coral Lanai.

 

No; it was Coral Lanai.  Yeah.  Because the House Without A Key is next door, was next door; yeah.

 

And then, you were headliner at the Monarch Room as well, at the Royal Hawaiian.

 

And then, after I left there, I went to the Monarch Room and performed there for a number of years.  And that was interesting; that was very interesting. Of course, there, I had a big orchestra, which was another style of work.  Because the other, I had either two pianos or a piano and a harp.  And then, I went to a thirteen-piece orchestra after that, with a piano player.

 

What was the most requested song when you were at the Monarch Room?

 

You know, everybody had their own different songs that they wanted hear.  Or course, everybody wants to hear Kamehameha Waltz, because that was a signature song.

 

Next, we reminisce with Marlene Sai.  Born into the Golden Age, Sai was just seventeen when she was discovered by the up-and-coming Don Ho, and his mentorship led her to embark on a successful singing career that once seemed out of reach.  During this 2009 conversation, Marlene Sai told us as a Kaimukīkid, she’d been laying the foundation her whole life to impress Don Ho, learning literally on the laps of talented musicians like her uncle, Andy Cummings, who composed some of her signature songs.  Sai’s journey to the stages of Waikīkīwould first pass through a small club in Kāne‘ohe.

 

So, Uncle wanted me to listen to the song, and I said okay.  And I would come home from school, sit me down on our steps outside of the house, and he’d play and he said: Now, I want you to learn the song.  And that’s how I started to learn Kainoa, which was the song that started me in the business.

 

It’s a signature song for you.

 

It’s one of the signature songs.  Yes.

 

How does it go?

 

I’m waiting on a warm and sunny seashore, yearning for the one that I adore.  My heart is true, I’m thinking of you.  Forever, I will love you, Kainoa.

 

Absolutely.

 

Yeah.

 

Beautiful.

 

Yeah.

 

Now, Andy Cummings is a heck of an uncle to get started in the music business with.

 

Yeah.

 

He’s, of course, one of the greatest hapa haole composers, ever.  And he wrote Waikīki, which is another song you are known for.

 

Signature; yeah.

 

Waikīkī

My whole life is empty without you

I miss that magic about you

Magic beside the sea

 

One day, I’m driving down Kalākaua, and I’m looking in my rearview mirror, and I see this … it looked like a Thunderbird.  And the top was down, and I see this car darting in and out, and it’s approaching me.  And this guy’s hair is blowing, no shirt on, and he’s coming up closer to me.  And I’m getting nervous.  So, I roll up my window, roll up this window, and I’m going further.  And he comes and he’s telling me to pull over.  So, I pull over, and I’m thinking: Who in the world is this?  ‘Cause I didn’t recognize him.  He got out of the car, came over to me.  And I had the window up, and he’s knocking on the window and he’s saying to me: You remember me?  I was playing the organ for you; you remember me?  And I’m thinking: What church is he talking about?  I couldn’t remember.  Organ?  And then he said: You came to my place with Jesse.  When he said Jesse, my player, I said: Oh—

 

Don Ho is at your window.

 

And I’m looking at him, so I rolled my window down. And he said: I lost your number. He says: I don’t know where I put the paper; I lost it.  He said: I’ve been trying to get your phone number.  So, he asked me; he says: You come down to Honey’s tonight, or tomorrow night.  He said: I’d like to know if we can get some songs together; if you’re still interested, I’d like for you to sing and maybe make some extra money.   And that’s really how it all started.

 

Singing at Honey’s, and your boss was Don Ho.

 

And my boss was Don Ho.  Yeah.

 

Was there a lot of music in Waikīkīin those days?

 

There was a lot of it.

 

Showrooms?

 

Because, you know, Duke Kahanamoku’s was a supper club. Don the Beachcomber was a supper club. And the International Marketplace, where it is now, you know, as we know the International Marketplace, way in the back of it to the left was Duke Kahanamoku’s.  That was where the supper club was.  In the front of it, on the street, was Don the Beachcomber’s.

 

That’s right.

 

You know.

 

So, there were all kinds of venues for live Hawaiian music.

 

Oh, yeah.  And then, down the road, Sterling Mossman was there at the Barefoot Bar.

 

At the Queen’s Surf.

 

And you had Queen’s Surf.  I mean, it was all over.  Across the street was the Moana Surfrider, so you had Pua Alameida playing there.  At the Royal Hawaiian, Haunani Kahalewai was playing.  I mean, it was all over the place, and it was just wonderful.

 

What a different time that was.

 

Yes; yes.

 

And you sounded fearless.  I mean, you were up for the challenges.

 

Well, because you’re young, I think.  You know, because you’re young and you want to explore, and you want to just give it whirl and try it.  And of course, the career was just unbelievable.

 

So, you were a teenaged recording star.  What if you hadn’t had access to all of these wonderful people—Andy Cummings, Gabby Pahinui, and the people who perhaps they didn’t—I guess, Uncle Andy coached you in so many words.

 

Sure.

 

But the others who you got to see in action and learn from that way.

 

I think what happens in life, if you are meant to be in a certain place, and things kinda unfold for you, which is truly the way I believe that things started to happen for me.  Because no way along this did I plan it.  I was just so grateful that it unfolded this way, and it was happening.  Because I just felt like the greatest gift was being given to me.

 

Do you ever miss seeing your name in those huge marquee lights in Waikīkī?

 

No; no.

 

Been there, done that?

 

Been there, done that.  Yes; yes.  I enjoy being Grammy, and I enjoy my grandchildren, you know, and enjoying the family.  Yeah.

 

Do your grandchildren know that Grammy was a huge star in Waikīkī, everybody knew your name, and many obviously still know it?

 

They know; they do know.  But you know, they also know that they have to know their place too.  You know. But they’re very good about that; they really are.

 

Showing respect?

 

Oh, sure.  But not, you know, boasting or anything.

 

But they have a sense of who you are?

 

They do have a sense; they do have a sense.

 

And the legacy?

 

Yes.

 

What’s your legacy?

 

What is my legacy?  God, she’s been around for a long time.

 

Our final entertainment icon has also been around a long time.  Danny Kaleikini left college to launch his career, and wound up as the longest-running showroom host at a single venue.  He would also come to be recognized worldwide as Hawai‘i’s Ambassador of Aloha.  In 2010, Kaleikini told us that long before the Golden Age of Waikīkī, he was living in Papakōlea, and his family was so poor he began working at the age of six—not performing, but delivering newspapers and shining shoes in Downtown Honolulu.

 

Before I went to Kāhala, I learned from the best from Hawai‘i.  I started at places, and I want to thank people. Even when I was shining shoes, I used to go every Friday; right across Hawaiian Electric was Charley’s Taxi. And they had jam sessions; Jesse Kalima and A Thousand Pounds of Melody.

 

Wow.

 

So, my brother and I, we’d go there just about five-thirty with our shoeshine box.  And they would say: Hey, the two brothers from Papakōlea; come over here, sing us a song.  We’d go up and there and we sing our song; ‘O Makalapua.  You know. And after the song, we’d pick up like two or three dollars, man, you know.  Ho!  So, we’d take it to Jesse; he tell: No, no, you guys take that home.  And I tell you, I never forgot.  Then I went to work at WaikīkīSands. From there, Ray Kinney saw me, and he took me to the Royal Hawaiian Hotel.  And he said: You watch what I do.  He said: You gotta learn.  Then I learned how to be an emcee.  Oh, you know, I gotta thank Reverend Akaka, you know.  And Danny Akaka, when I went to Kauai, was my minister of music.  So, I was part of, you know, the choir.  But Kahu, you know, is really the one taught me about the magic word, aloha.  And the ukulele, you know, he told me the ukulele represents the world.  You know, there’s only four strings, but each string represents all the different people that make up our world—black, white, yellow, brown.  He said: You play each string, you’ll get a sound, you know, but try playing it all together, then you find a chord, then you find harmony, then we can all come together.

 

Who was in your high school class that people might remember today?

 

Ron Jacobs, Wesley Park.  You know, Wesley was my business manager.  Because of Wesley Park, and I thank him very much, he got me my job at the Kahala Hilton in 1967.  He got me a contract for five years, and the rate was $1.5 million.  I was guaranteed, which was unheard of.

 

What was it like?  Do you remember the moment when you realized: I’m gonna play the Kahala?

 

Oh, no; I was so scared.  I mean, it was like One Step Beyond, you know, to go from Downtown Waikīkī.  And Kahala was, you know, The Hilton International, I mean premier.

 

Did you replace anybody when you went to the Kahala showroom, or did you create that showroom?

 

I created that showroom.  I created that room.

 

So, what was the thinking process in figuring what will work in the showroom?

 

Well, first of all, I said: We’re too far from Waikīkī.  I said: We have to work hard to get people, ‘cause just to catch the taxi, and then local people said: Kahala Hilton; you know how much the cup coffee?  One dollar.

 

How did you draw them in?  What do you think brought them in?

 

I did it Hawaiian style.  I mean, you know, I did it from the pupu’s, and all the kanaka maoli.  I mean, I used to sing, “Ua Like NōA Like”, I did “Lei Aloha Lei Makamae”.  But I did all the … even like Andy Anderson was one; I love Mr. Anderson, I love his songs. And I used to sing “Malihini Mele”. And then everybody used to get a bang, ‘cause I used to add my own words to it.  But that thing was an upbeat tune, you know.

 

Real hapa haole.

 

All the hapa haole songs, I tell you.  And every night, I sang the Wedding Song.  And the other song was either “Lovely Hula Hands”, or “Beyond the Reef”.  Either one. Yeah; and everybody knew the song. Not only the malihini’s, but the kama‘aina’s as well.  ‘Cause Lovely Hula Hands, Andy Anderson wrote that song, you know.

 

So, you started out with a local crowd.  And then, what happened?

 

And then, the tourists started to come from Waikīkī.  Then, I had to go market the show.  Then I started to get the Japanese.  Once the Japanese, the second show was sold out every night.  Was unreal.

 

And that showroom was based around you; right?

 

Yeah.

 

It was the cult of Kaniela.

 

Yeah.  I mean, I got to meet Queen Elizabeth and her husband.  And Prince Charles used to stay there, ‘cause he played polo, and he used to come with Princess Diana.  You know, I got to play golf with President Ford.  All the presidents stayed at the Kahala, and I got to meet them all.  And Imelda, you know, she would come; she would stay at the Kahala Hilton, Mrs. Marcos.  And she would come to my show, and she always brought like about, you know, forty to fifty people, and they had a section.  And the security was tight, and everybody was comfortable and yet, uneasy because of the security and everything else.

 

Was it Governor Waihe‘e who gave you the title, Ambassador of Aloha?

 

Yeah; in 1988.  I was so honored, you know, ‘cause Duke Kahanamoku has been our Ambassador of Aloha.  And I had the privilege of working with Duke.

 

You’re still known as Mr. Aloha, the Ambassador of Aloha.  What does that mean to you?  Do you think of that every day?

 

Oh, I’m very honored just to share this aloha, not only here, but around the world, no matter where I go.  I can honestly say I’ve seen the world, and because of music.  You know, I thank Akua, I thank God.  But I go with aloha ke kahi i ke kahi, the breath of life that we share with one another.

 

What is the reason the show ended at Kahala?

 

They sold the hotel.

 

You would have kept going?

 

I would have; yeah.  I even asked the people if they wanted, you know.  But big management, they had a whole different outlook on what they wanted to do.  It’s a shame, ‘cause in 1967, we could have bought the hotel for $17 million.  But nobody would lend us the money.  Yeah; but you know, I look back and you know, I say I had a wonderful, wonderful stay, and I thank all the people that supported me, all the people that helped me.  We all worked together as one family, you know.  And I think that was the key in the success.  But the secret ingredient: A-L-O-H-A.  That made it work.

 

Danny Kaleikini, Marlene Sai, and Emma Veary; three iconic Hawai‘i performers, all members of the Hawaiian Music Hall Fame, and each honored with a Lifetime Achievement Award from the Hawai‘i Academy of Recording Arts.  By sharing their on and off stage stories, they help keep alive the memories of this magical time in Hawai‘i.  Mahalo for joining us for this reminiscent journey back to Hawai‘i’s Golden Age of Entertainment.  For Long Story Short and PBS Hawai‘i, I’m Leslie Wilcox.  Aloha nui.

 

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

 

 

 

HIKI NŌ
Episode #1001 – Donut Dynamite and other stories

HIKI NŌ: Episode #1001 - Madame Donut and other stories

 

TOP STORY:

 

Students from H.P. Baldwin High School on Maui introduce us to a Filipino immigrant who legally changed her name to Madame Donut. Before opening Donut Dynamite in Wailuku, Maui, she attended culinary school, where one of her instructors was the pastry chef at the famous French Laundry Restaurant in California’s wine country. When she found out the restaurant had donuts on its menu, she decided to make donuts her medium for artistic expression. “I use the donuts kind of as a platform or a canvas to express my art and my life story,” Madam Donut says.

 

 

ALSO FEATURED:

 

Students from Kapaʻa High School on Kauaʻi show us how their high school auto-shop class has moved into the 21st Century.

 

Students from Kalama Intermediate School on Maui explore the incredible hula legacy of Kumu Naomi “Sissy” Lake-Farm.

 

Students from Punahou School on Oʻahu show us how to make a beautiful work of art from a dead fish.

 

Students from Kalani High School in East Honolulu introduce us to a young woman who has discovered who she is by mentoring younger children on the ways of the ocean.

 

Students from ‘Īao School on Maui tell the story of a 6th grader who has created a way to motivate her peers to volunteer for community service.

 

And students from Waiākea High School on Hawaiʻi Island introduce us to a married couple who dedicates their lives, on and off the job, to foster children.

 

 

 

INSIGHTS ON PBS HAWAI‘I
Election 2018 Recap

 

Hotly contested primaries for governor, congress, the state legislature, county councils and mayoral races in two counties have set the stage for the 2018 General Election on November 6. Two days after, INSIGHTS ON PBS HAWAI‘I will present a recap of the 2018 elections.

 

Join us during these live forums by phoning in or by leaving us a comment on Facebook or Twitter. INSIGHTS is also live streamed on pbshawaii.org and PBS Hawaiʻi’s Facebook page.

 

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

 

Email:
insights@pbshawaii.org

 

Facebook:
Visit the PBS Hawai‘i Facebook page.

 

Twitter:
Join our live discussion using #pbsinsights

 

To see an archive of past INSIGHTS ELECTION 2018 shows, click here.

 

 


 

INSIGHTS ON PBS HAWAI‘I
U.S. Senate / Maui County Council – Kahului

 

Our last INSIGHTS ON PBS HAWAI‘I before the General Election features two candidate forums:

 

–At 8:00 pm, it’s the race for U.S. Senate. Mazie Hirono (D) has captured national and local attention with her criticism of President Trump and of his appointee to the Supreme Court, Brett Kavanaugh. She is trying for a second consecutive six-year term as Hawaii’s junior senator. Challenging her re-election effort is Republican Ron Curtis, a retired engineer who beat seven competitors in the primary election.

 

–At 8:30 pm, Maui’s outgoing mayor Alan Arakawa may face a tall order in trying to win back the Maui County Council – Kahului seat he once held against Natalie Kama, who was the top vote getter in the primary.

 

Join us during these live forums by phoning in or by leaving us a comment on Facebook or Twitter. INSIGHTS is also live streamed on pbshawaii.org and PBS Hawaiʻi’s Facebook page.

 

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

 

Email:
insights@pbshawaii.org

 

Facebook:
Visit the PBS Hawai‘i Facebook page.

 

Twitter:
Join our live discussion using #pbsinsights

 

To see an archive of past INSIGHTS ELECTION 2018 shows, click here.

 

 

 

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