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LONG STORY SHORT WITH LESLIE WILCOX
Leona Rocha Wilson

LONG STORY SHORT WITH LESLIE WILCOX: Leona Rocha Wilson

 

Original air date: Tues., Mar. 30, 2010

 

Maui-Based Entrepreneur and Inventor

 

Leslie Wilcox talks story with Maui-raised and based entrepreneur Leona Rocha Wilson, a one-time national spokesperson for the home sewing industry and inventor of the “fashion rule”, a tool still in use today. Leona is also a passionate advocate for education, and uses her Maui-based cable show, Go School, No Come Like Me, to inspire people through stories of lives transformed by family support of education. Her colorful life, which included a stint in the military and writing a book, is a shining example of how to constantly reinvent oneself.

 

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Transcript

 

 

This is from Khalil Gibran, the philosopher. And he said that we are a collection of broken mirrors; each piece reflects those we’ve met along the way.

 

Leona Rocha Wilson has collected many shiny chapters in her life since she was born in a small Maui community that no longer exists. She invented a device well known to people who sew at home and she became a successful East Coast businesswoman. Today she advocates passionately for education, hosting a Maui-based cable show, Go School, No Come Like Me. 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. Leona Rocha Wilson is not coy about her age…72 when we spoke on Long Story Short in 2009. I’m mentioning this because she looks younger and when she talks about her generation, you’ll need to know that it’s a generation that grew up with sugar as king. Leona moved back to Maui after a successful career on the continent. Her first years were spent on a sugar plantation located between Paia and Haiku. Its name was Hamakuapoko Camp, but residents called it H-Poko. Leona’s father was a truck driver and her mother cleaned houses and worked at the cannery. Her family was eventually able to buy a home in “Dream City,” better known today as Kahului. Leona, the youngest of six children, attended Maui and Baldwin High Schools. In years to come Leona was influenced by mentors whom she credits with helping her achieve success as a businesswoman, as a national spokesperson for the home sewing industry and as an inventor of the “fashion ruler”, a tool still in use today. Leona Wilson’s self-determination was forged early on, inspired by the example of her grandmother from Portugal.

 

My grandmother gave up her life, actually, to come to come to Hawaii. She and my grandfather came over with my mother, a nine-month-old child, to get on a ship to come to a place that she had never seen before, no one else had seen. They spent six months traveling. And my mother—my grandmother coming here never, ever to see her mother again. Never, ever to see her sisters and her brothers, and her aunties and her uncles. My thinking was, if my

 

grandmother gave up so much, I owe her, I really owe her, and I owe my grandfather to be the best person I could be.

 

And how did you go about doing that?

 

Ah, my mother. [chuckle] My mother, remarkable woman, fourth grade education, and my father, probably the brightest man I’ve ever met with a fourth grade education. My mother had more common sense than a hundred people. Her common sense was the very thing that helped the entire family.

 

What kind of common sense? Give me an example.

 

Well, give you an example. Being raised in the plantation, she realized that that was a very small part of the world. And so she said to all of us, Upon graduating from high school, go to the mainland, go see what else is happening there.

 

Had she ever been to the mainland?

 

No. No. Now, my father did, but not my mother.

 

Go to sights unseen.

 

Yes. Go try, to see. You don’t want to end up with your life saying, I should have done that, and I should have done that. She said—here; so upon graduating from high school, she gave us—not me, but my sisters and my brothers, a roundtrip ticket to the mainland. Her feeling about that roundtrip ticket was that, if you went to the mainland and you found that you wanted to remain, you could cash in that ticket and use it to live on.

 

M-m.

 

And if you didn’t, you always had that ticket to come back. She was so sensitive to everyone’s needs that in her bedroom, she had three statues; [chuckle] the Blessed Mother, St. Joseph, and Christ. And under those three statues, she put five dollars, ten dollars, and twenty dollars. The entire family knew where that money was, and she told all of us, If you need money, you know where it is, under one rule. And the rule was, if you take it, you must eventually replace it. Her sense of dignity, if you will, we didn’t have to ask for money. When we worked, we gave everything back to our parents, and they used it to support the family. So the family became very, very important, and to this day remains very important. My sisters and brothers, which is really one of the reasons I came home, to be with the family.

 

Do you remember instances of sibling rivalry? How come he gets that, and I don’t have that, kinda thing?

 

Oh, no. You know what? No, not ever, but I can tell you this. My sisters were so attractive [chuckle] that one of the things I made up my mind was, which is why I became the student, was that my sisters were so pretty, and I couldn’t match up to them. So I said, Okay, if I can’t be what they are—that’s where the only competition came in, was that I was gonna be the best student I could be. And so I studied really very hard, and tried to get the most out of education.

 

Because that was what … we knew in our family that the one thing that was going to propel us, if you will, or move us forward, was education. In high school, I was a fairly good student. Not the best. I was a song leader, so I spent more times being a song leader than I did … uh, though I was okay in school. When I graduated, or before I graduated, my mother and I sat down. And she said, What are we gonna do? I said, Well, Mom, I can go to University of Hawaii. And she said, Do you know how much Daddy makes? We can’t afford it; there is no money. I said, What if I get a scholarship? Even then, I can’t afford it. She said, I don’t want you to work in the fields. I think we can do—I think you should do more. And so we sat down, and we tried to figure out the best way for me to get an education. Well, the one thing that came come—kept coming up was the military. You go on the GI Bill, you join the service. I had to join the service for three years. And the reason I did that was that she decided that I should be a dental technician. Where that came from, I can’t tell you. She actually originally wanted me to be a hairdresser. [chuckle]

 

But the military didn’t pay you to go to college.

 

[chuckle] There was none in the military, right?

 

You know, I know a number of men of your generation who went to the military and got wonderful educations on the GI Bill. But you know, you’re the first woman I’ve met—

 

Really?

—from Hawaii who’s done that. How many were there in your group? When—

 

Well, I think when we left, from Maui, I think we had something like four, maybe a little bit more. I’m not sure. But there were just a handful of us, just a handful.

 

And I have to tell you, Leslie that was probably the hardest thing I’ve ever had to do in my entire life, was to leave my mother, leave my father, and my sisters and my brothers. To this day, feel that it was the very thing, though, that gave me the strength to continue to pursue the wonderful life that I have enjoyed.

 

Leona Rocha Wilson grew up in small-town Maui, rich with ethnicities and mutual respect. Her military experience was a wakeup call to the realities of racial segregation on the mainland.

 

The first thing they told us that first weekend in Anniston, Alabama, that we could not, us White—supposedly White folks—could not go with the other local girls to town, because the prejudice existing in those days. So I remember; they said I couldn’t go with my friends, so I stayed home. I didn’t go. I mean, I stayed in the barracks, didn’t go. It was difficult, it was really difficult.

 

What ethnicities were your friends?

 

They were a mixture. They were Asian, they were Hawaiian, they were Filipino. They were a mixture—my friend, Yvonne Yamane was a mixture.

 

And segregation was in full swing.

 

Was in full swing. We had to use separate bathrooms, separate toilets. Not in the military, of course, but certainly in town. And I then went to Fort Sam Houston, Texas, where all the dental technician schools—school took place.

 

What was interesting about that was that we were the first group of women to go into the dental technician school. And we started, I think, with probably about seven, eight, maybe ten women and thirty, or forty, or fifty men. And only four of us graduated.

 

Why is that?

 

All the other girls dropped out, it was so difficult. And two of the girls—one was a girl from Oahu, and one was myself, and the other two were mainland people. And so we were the first group of women to graduate. So it was dental technician. But then I ended up going to uh, Fort Belvoir, Virginia and they put me as a dental assistant. And that’s where I got my training. And during the entire time I was in the military, and I have to tell you this ‘cause I did bring those bonds. My mother again [chuckle] said, Well, Leona, you know what? You’ll have the GI Bill when you come out of the service, but you’re also gonna need money when you come out. Out of the money that I got every month from the military, I had to send home two US savings bonds. I ended up sending home the bonds. And I have them to this day.

 

Oh, you never needed them?

 

Well, actually, I did cash in a few. But the rest, I kept, because it reminds me that, again, how important parents can be and should be, and if not parents, grandparents and aunties, and uncles, in the development of a child’s life. Uh, this is from Khalil Gibran, the philosopher. And he said that we are a collection of broken mirrors; each piece reflects those we’ve met along the way.

 

After her military service Leona Rocha Wilson moved to Brooklyn with her husband, whom she married while in the service. She was ready for new things, including a new profession. She just didn’t know what it was going to be.

 

 

People ask me, Did you want to study fashion in high school? I mean, did you draw pictures and no. I had no idea.

 

And you didn’t want to continue on with your dental career?

 

I worked at it for two years in New York, on Madison Avenue. I had a wonderful mentor there. He taught me how to speak English, he’d read the paper to me and I—

 

What do you mean, he taught you how to speak English?

 

Well, what he taught me was there is an educated way of saying something or an uneducated way.

 

Well, how were you saying things?

 

Give you an example. I used to say, Well, this is cheap. He’d say, Leona, this is inexpensive. [chuckle] So there are ways in which you can use more educated words, and he was trying to help me with those words.

 

So, social graces in terms of language.

 

Yes, and I’d serve tea. I was working for him and he was on Madison Avenue, so he taught me how to speak properly to people, how to serve tea, which we would probably see two or three patients a day, and so I had plenty of time. He taught me about the stock market. I listened to him during that time. So he was a wonderful mentor. I think to grow, you must listen. And there will be many, many people in your life that will share many wonderful areas of improvement for you. And I did listen, and I did work at it. And for him, I’m very grateful. So I worked for him for a while, then I went to 7th Avenue, and I worked for a woman called Eloise Curtis. She was a designer. I worked there as a secretary, switchboard, whatever. I went to secretarial school too; that was something else I did. I worked for her in the garment industry, and she taught me how to dress. And it was interesting, because I had no idea, I had no idea what size I was. Coming from Hawaii and in the military, I had no idea what size I was. I mean, it was just—

 

How did you dress?

 

Well, not well, obviously. [chuckle] ‘Cause Eloise said, We’re gonna have to do this for you.

 

She hired you, though.

 

Yes, she did. She did. As a matter of fact, at one point, I helped out with her sample modeling, and I think I was a size one. That was long—Leslie, a long time ago. [chuckle] Many, many sizes ago. And so she did help me to dress, to understand, scale and proportion and color, and my figure in relationship to what would be appropriate for me. And after her, I went to work for the aviation industry as a secretary. And at that point, I was married, I got pregnant. And when I was pregnant, I realized that the maternity clothes were awful. They were so ugly that you ended up—I looked at it—and expensive. So then I said to myself, Hey, you know, why can’t I sew my own? So at that point, I looked to see what other classes I could go to, and went to the Y or YW, and they had a class on sewing. And I decided to sew my maternity clothes, and it was at that point I decided that fashion was great. Here I was married, I was pregnant, I was working during the day. So that being said, I had to go to school at night.

 

That was the only way, because we needed the money, I had to work. So that’s when the GI Bill came into play. And I went, got the GI Bill, went to Fashion Institute of Technology. Now, not even knowing there what I wanted to study, I signed up for pattern making. This is why you gotta go out there and find out what you don’t like, and then do something so that you know what you do like. And I didn’t like pattern making.

 

[chuckle]

 

All those numbers, and math is not my strong suit. So I ended up saying, I don’t want to be a pattern maker. So at FIT, then I went to see one of the teachers, and I said, Look, is there something else. He said, Yeah, why don’t you study apparel design. And that’s where you drape fabric, and you don’t have to worry about math. [chuckle] And so I decided to do apparel design and it was at that point that eight years at night later, I finally got my degree in apparel design. Though, I must say, with the help of my husband, the father of my son, my mother-in-law. Because without them, going to school at night would not have been possible.

 

You continued to work?

 

I continued to work.

 

And take care of your child, and go to school.

 

M-hm; yeah. And on weekends, that’s all I had time to do, was to do my work, my homework. And I did graduate with honors, which was an incredible task for me, and I’m very proud of it. My son came to my graduation at Carnegie Hall, interestingly enough. So people say, How do you do these things? I can only  say that my mother gave me this wonderful sense of positiveness. She was so positive; it’s like, go do it. What’s the worst thing can happen? You fail, so what? At least you know you don’t want to do that or you’re not good at that.

 

It’s not a waste of time to find out you don’t really want to do this.

 

No.

 

While sewing her own clothes Leona Rocha Wilson came up with the idea of creating a tool to assist the home sewer. With no clue of how to market her design she reconnected with her former mentor Joe Barta who became a trusted advisor. Manufacturing her new device led to the creation of her own company, Fashionetics.

 

Home sewers had no idea how to change dress patterns. Dress patterns is made for a standard size, which is, I think, a ten. They might have changed it now, ‘cause we’re getting a little bit larger. But the average size was, I think, for size ten. And some of us were down here, and some of us were a little bit larger than the ten. So dress patterns—and some of us have sloping shoulders, and some of us have full breasts, and some of us have large hips and small hips. So the variance in figure types required that you take this pattern that you purchased and change the pattern to suit your figure.

 

And until you invented the fashion ruler, people were just eyeballing it?

 

Well, they would fold the pattern, or they would kind of do what the pattern companies told them to do, which is primarily work from inside the pattern. And so when I came up with the fashion ruler, we used that fashion ruler to do the same thing a professional would do. And that is, if you want to change an armhole, you take that part of the ruler and you put it on the armhole, and you lower it, you raise it. It was—it’s simple. It makes—it was just—it simplified changing dress patterns to customize it for you personally. Now, how I got into [chuckle] a little bit more difficulty was this. I had the ruler, I had designed the ruler, and I went—

 

Was it exactly the same as the ruler a professional uses, or was it—

 

No, it was a—

 

—different?

 

—combination. The fashion ruler is about three or four professional rulers made into one.

 

I see.

 

So I just combined all the lines into one. It was just simple. But I’d not thought of it until my mentor, Joe Barta, said to me, Go ahead and try to do your own.

 

And so when I created this ruler I needed to have a—it was plastic, I needed to have a mold made, which was very expensive. I needed packaging. I needed marketing. And you know, I designed the ruler, but I had no clue about these other areas. So I went back to Joe Barta and I said, Look, I have the ruler. He was the one that found the next person for me to be involved in, to make the fashion ruler. We then created the fashion ruler. We packaged it, and were ready to sell it and bring it to the retail stores. Now … new ruler, no one ever saw it before. So what that says is that nobody knew how to use it. [chuckle] So I had to go out to the stores to teach women how to use these rulers. And that’s how I got started, talking with women, which I just love. I travel the country, I show them how to change dress patterns using the ruler, and that was the very thing that got me involved with television and set my company up. I did get a US patent, I created more rulers and more devices for the home sewing industry. So have I ever worked in the garment industry to create fashion? No. I started my own business called Fashionetics.

 

An inventor.

 

 

Yeah. It was fun.

 

And were they big selling items?

 

Oh, it’s being sold today, as we speak

 

Leona Rocha Wilson also authored the book Discover Fit Fashion and You and married her mentor, Joe Barta. After his death she sold her business Fashionetics and took on a new challenge as a national spokesperson for the home sewing industry.

 

I got this call from Simplicity, and they said, Would you want to do television? And I said, Look, I’ve never done television, what do I know about TV? He said, Leona, you can talk. [chuckle] So based on that, they sent me to California. We did a shoot. They said, [INDISTINCT]. Carol Lawrence was the hostess at the time. She did the show. And she and I had the best time. Oh, we just loved each other. We had a great time, we laughed and had a good time. By the time I left the set, the producer asked me if I would take on the show for the following season, which I did, which was on Lifetime Cable, which is Lifetime today. And we did the sewing show. And that got me started on—I’d never done television. But I remembered my mother saying, What’s the worst thing can happen? They send you home; what’s the worst thing can happen?

 

And it was a national cable show.

 

M-hm.

 

Wow.

 

And from that, Simplicity needed a spokesperson. A lobbying firm in Washington came to Simplicity; they said, Leona, would you like to travel the country doing all their television show for—you remember the thing called, Made In USA, Crafted With Pride, Made In USA? Well, I was their spokesperson. They sent me throughout the nation to do all the television shows, AM Los Angeles, New York Today Show, you name it. And I did it for them in order to represent them on television, radio, and newspaper.

 

Leona Rocha Wilson became the first woman president of the national organization, the American Home Sewing Association, comprised of fabric companies, sewing suppliers and sewing machine makers. Industry giant Vogue/Butterick would woo Leona away from the Simplicity Pattern Company to become its national spokesperson. And eventually Vogue/Butterick’s owner

 

would woo Leona into marriage. At the time of this conversation in 2009, Bill and Leona Wilson had been married for more than two decades. Bill has been a strong supporter of Leona’s continuing efforts to promote learning. Her show on Maui Community College’s cable television channel showcases individuals whose lives have been transformed through family support for education.

 

They wanted me to sort of have a little bit more educated title for the show. But I insisted that Go School, No Come Like Me took us back to the plantation days. It was when they would say, Go school, no come like me. You don’t want to work in the fields, better yourself, become the best person you possibly can. Leslie, I’m sure you’re aware that for every hundred students that enter our high schools here in Hawaii, twenty-two drop out of school. Nationally, we have a higher—thirty dropout nationally. The dropout rate really, really bothered me and my husband. So we came up with this program, Go School, No Come Like Me, and it’s to bring attention to the dropout rate and to reach the parents, the grandparents, the aunties, and the uncles, this one small segment, to let them know and to listen to stories of people who have made it … not necessarily always financially, but have lived fulfilled lives because they have had and they pursued an education. And so what we’re trying to do is reach these parents, these families in their homes so that they know that it takes more than just raising a child. The input that they have, and the friends and families they have play an important role. So, Go School, No Come Like Me, we have wonderful people that we’ve interviewed, people who have taken three jobs. Harrison Miyahira today owns a company that has over four hundred people and has in forty different countries, came from Kuau, and today, went to school to Purdue, starved, and today owns this company, HM Electronics. These are the stories that just inspired me, anyway, by listening—chicken skin kind. We hope that through Go School, No Come Like Me, and Maui Community College, that people will be aware of the dropout rate, and will be aware that it takes a lot to make up or to influence a child to be the best he—or she can possibly be.

 

I think of your life, you did devote yourself to school, but you also did a lot of learning informally through mentors.

 

Oh, yeah. I continue to. I continue, continue to learn. I’m learning about building. We have a farm now. I have a farm; I’m a farmer. Look at my nails. [chuckle] I’m a farmer. We have three hundred koaia trees that we put in. I fertilize it. I have someone that helps me with it, but I’m out there pulling weeds. My sister Patsy and I; she’s eighty-two, and the two of us, typical Portuguese people, right?

 

[chuckle]

 

I’m back to the soil again. I’m raising trees, and I’m learning about it. It is a most enlightening—it give me purposeful living when I am learning.

 

An endowment scholarship for students attending Maui Community College has been established by Leona and Bill. The community college’s cable channel 55 is the home of her show, Go School, No Come Like Me. Thank you, Leona Rocha

 

Wilson, for sharing your “Long Story Short,” and thank YOU for joining us on PBS Hawaii. I’m Leslie Wilcox. A Hui Hou Kakou.

 

For audio and written transcripts of this program, and all episodes of Long Story Short with Leslie Wilcox, visit pbshawaii.org.

 

And once you find that passion, to make that commitment that you’re going to do everything you can to accomplish that goal. And during that time, and even after that, you cannot lose sight of your own self respect. You don’t lose sight of your word. All of that plays—that part, who you are, you don’t lose it. You maintain it, and you manage to fulfill your dreams by pursuing and making that commitment to that passion.

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Takeshi “Tak” Yoshihara

 

Original air date: Tues., Dec. 10, 2013

 

A Quiet Struggle

 

There’s a humble man living in Honolulu who isn’t one to let people know of his extraordinary history. We finally persuaded him to sit down and share it.

 

Takeshi “Tak” Yoshihara is the first Japanese American admitted to the U.S. Naval Academy at Annapolis, MD. He also is a former internee, whose family was held for three years in so-called “relocation centers” that America built during World War II. Now retired after a Navy career as an officer, Mr. Yoshihara recounts in A Quiet Struggle what life was like living in internment camp cubicles. Despite that loss of freedom, you’ll hear him express great gratitude for his country and what it’s done for him.

 

Takeshi Yoshihara, A Quiet Struggle Audio

 

Download: Takeshi Yoshihara, A Quiet Struggle Transcript

 

 

Original air date: Tues., Jan. 7, 2014

 

An Historic Journey

 

After hardships during the Great Depression and World War II, Takeshi Yoshihara became the first Japanese American appointed to the U.S. Naval Academy. In this conversation with Leslie Wilcox, Takeshi talks about what made him an unlikely Naval Academy candidate, and his journey through the ranks and, eventually, to Hawaii.

 

Takeshi Yoshihara, An Historic Journey Audio

 

Download: Takeshi Yoshihara, An Historic Journey Transcript

 

Transcript

 

Part 1: A Quiet Struggle

 

I like to say that there was this great injustice to me, but on the other hand, what the country has meant to me, the opportunities that were offered to me, far outweigh the injustice.

 

For three years, Takeshi Yoshihara and his family lived in two small cubicles in a Japanese American internment camp. The experience, while traumatic for the young Takeshi and his family, did not leave him bitter. In fact, this Nisei would grow up to be a U.S. Navy officer, and make history in the process. Takeshi Yoshihara, 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. More than one hundred ten thousand Japanese Americans were sent to internment camps after Japan attacked Pearl Harbor. What was it like to live in these camps? Tonight, Takeshi Yoshihara of Honolulu shares his story, which begins with his father’s arrival in American more than a century ago.

 

Your father came to the United States when he was a teenager. Why did he come?

 

I think he came, as so many from that part of Japan came; their economic opportunities were very limited.

 

What part of Japan was that?

 

It was called Hiroshima – ken, so it was in the vicinity of Hiroshima. And Japan was having a very difficult time economically, so a large number of Japanese immigrants came during that period in, probably the early 1900s. He arrived in maybe 1905, or somewhere in that time as a teenager. He was one of those recruited to work on a timber mill that was being built in the middle of a forest not far from Seattle, but on the foothills of the Cascade Mountains.

 

So, when he wanted to get married, what did he do?

 

Well, on his trip back, he had complained that he needed a wife. And so, while he was there, his father and my mother’s father made some kinda deal that they would send a young lady after my father returned to the United States. And sure enough, a few months later, she arrived by herself on about a fifteen – day journey aboard ship.

 

So, his parents picked his wife for him?

 

Oh, yes; oh, yes. And they were from a neighboring family.

 

Well, what was your life like as a boy in the sawmill camp?

 

Well, I came along as the fourth child in a family that was to grow to eight children. My parents were living at that time in a small village. I’m not sure I would call it a village. They called it a camp, Japan Camp. I lived there until I was eight years old, but I still remember going to Japanese schools, learning Japanese culture, and especially the values of Japanese that I still remember to this day, and has contributed to my life. And it was a wonderful life. I think all my brothers and sisters look upon that period there as the most stable and happy lives, beginning lives.

 

Even though there wasn’t much materially.

 

Nothing materially. We lived in a little old building that people would call a shack now. But as a youngster, it was comfortable and warm, and we enjoyed it.

 

But it wouldn’t last. The Great Depression hit, and the sawmill closed down. Takeshi Yoshihara’s family was forced to find a new home, and a new way of life. Not easy for a family from a foreign country who could speak little English at the time.

 

My father had a neighbor from Japan who was farming a strawberry farm in Oregon. He and his wife had done very well, and they lived in what we considered a very fine home. Through their compassion and kindness, they invited my whole family of eight to live in their home. And there were two of them, and eight of us, so we kinda took over their home for a year. And he offered my parents both to work on the strawberry farm, and that continued for about a year until my father, his friend’s encouragement, thought it was a good time to start his own strawberry farm. And that’s what he did. Now, the home we lived in, and I can remember this very clearly because first thing one noticed is weeds growing out of the floor. Over the years, the land had shifted, and the roof leaked, and there was no water or plumbing.

 

Definitely a fixer – upper. [CHUCKLE]

 

[CHUCKLE] Fixer – upper would — not much to do to …

 

So, it was a property that probably nobody else wanted, and your dad —

 

Oh, it was an absolutely abandoned house. And I remember, to contain the leaking roof, we got these big vegetable cans of tomatoes or something, gallon cans, and we’d put it wherever it rained. And that was our —

 

And walked around the cans.

 

[CHUCKLE]

 

I’ve done that. [CHUCKLE]

 

That’s right; you did that as well.

 

[CHUCKLE] But not with weeds growing up out of the floorboards.

 

We didn’t have water, we didn’t have sewage, or we didn’t even have electricity. So, we had a kerosene lamp, and …

 

How did you keep warm?

 

Well, we had blankets, so we kept warm all right. And stoves with plenty of wood to heat up the stove. They had a wood stove.

 

Strawberries take two years to grow. During that time, Takeshi Yoshihara’s family wouldn’t make much money, but the family was willing to make the sacrifice to become successful farmers. Then, Japan attacked Pearl Harbor, and America joined the Second World War.

 

It was really a shocking incident for them. And of course, your reaction is, what’s gonna happen to us? They were aliens in the United States. Of course, we who were born were American citizens. They feared for a time that they would be picked up and put into prisoner of war camps. And then, I remember we got visits from the local FBI and the police. And here, they knew nothing; they could hardly speak English, and were just doing their business, but they felt intimidated. And then, there was a curfew that came along, and they were restricted from going anywhere. So, it was a heightened and stressful time for them.

 

Could you feel your parents’ fear?

 

I could always feel their fear, very definitely. I could feel their disappointment. But I never felt their despair. First of all, they were virtually in survival mode without income, working hard, and their concerns were primarily keeping alive. I mean, feeding their children, having shelter for them, sending their children with clothes to school.

 

Because those two years had been so very hard.

 

Very, very difficult years.

 

But you’d think they’d say, Oh, now what? How can this get worse? But you said they didn’t feel this way.

 

Well, when that notice came, they weren’t prepared to abandon the farm. Even through Pearl Harbor and all, they had worked dawn to dusk, tried to keep up the farm, not knowing what’s going to happen. But when that notice appeared on that telephone pole, they realized that this was it, there’s no alternative, they’ve got to leave the farm.

 

It was a heartbreaking decision. Takeshi Yoshihara’s father found a friend from church who agreed to run their farm and pay off their debts. The family was then sent to a relocation camp in Portland, Oregon.

 

They had taken two – by – fours and just built cubicles throughout this large pavilion area with very high ceilings, and used canvas as a doorway for the opening. So, if one were to look upon what we called our assembly center, it would be looking down from the ceiling and seeing all the open ceiling area, but it would look like an egg crate, and you could see maybe twenty, thirty families in each. And every family was given one little cubicle.

 

Now, could you look over the wall and see the next family?

 

If we stood on our beds, we could look over the family and see them fighting or having a good time, or whatever.

 

So, there was no audio privacy, no visual privacy if anyone who wanted to look.

 

That’s right. And especially in a situation like that, it would be surprising how noisy the night times were. All kinds of noises; people arguing, playing, that sort of thing. So, it was very … there was not much privacy. Then they had an area where we lined up to eat in shifts on picnic benches. But it was supposedly for a short time, so we endured it. The worst part was, right next to this exposition center was large stock butchering facility. Just next to it.

 

In operation?

 

In operation.

 

A slaughterhouse?

 

Slaughterhouse; that’s the word I’m thinking about, a slaughterhouse. And we could sense the effects of all the slaughters going on, especially when the wind blew in our direction. It was almost nauseating; it was so bad. And that was combined with one of the hottest summers in Portland. And Portland can get very hot and humid, and without ventilation, it was just suffocating. The authorities were telling us, Well, we’re putting you in here to protect you. And some of the in — I say inmates, but internees [CHUCKLE] looked up and said, How come the rifles are pointing at us instead of the other way if they’re protecting us? So, they changed the name assembly center, I don’t know if for that reason, but we never used it again. It became a relocation center.

 

Relocation; when we say that today or we say internment camps, there’s a significant minority of people who will correct you and say, You know what, let’s call it for what it is, that’s a euphemism, it was a concentration camp. What’s your feeling about that terminology?

 

I’ve looked up the word concentration camps, and technically, concentration camps is correct. As I understand, concentration camps is a place where people are imprisoned, not because of what they do, like crimes, but because who they are. And we, of course, were all homogeneous Japanese blood. So, in that sense, concentration camp is the correct term. But from my own perspective, and my deep appreciation for my country and what it has meant to me, I hesitate, because if I were to say it, I would feel like I’m getting close to a Nazi concentration camp. We were not treated unfairly. There was a lot of compassion, understanding by the authorities.

 

So, day – by – day, you were treated well, but did you think it was the right thing to do to bring people together like that, for that reason?

 

As a youngster, I didn’t think much about that. My parents didn’t really think much about that, because, here again, it’s the perspective of my family who were really in survival mode, being relieved in a sense. Have all our meals provided, have a good roof over us. So, the word they used so often was “shikata ga nai”, which means, it can’t be helped. And that was their attitude.

 

So, accept it.

 

To accept it, and do the best they can with it.

 

Takeshi Yoshihara and his family stayed at the relocation camp in Portland for four months. By then, they were ready to leave because of the stench and cramped conditions. This time, the family was forced to take a train to a more permanent internment camp in Idaho called Minidoka.

 

They had built this camp for ten thousand people to house them with all the facilities, all the utilities, and the main buildings were like Army barracks. They were very, very hastily constructed of wood framing, and covered with black tar paper. You could almost see holes through some of our walls. The floors were bare wood panels, and a little potbelly stove sat in the middle of the room to provide heat. So, when we got there, I remember we were issued canva — I guess they call them ticking, where you stuff straw in to make mattresses out of. And we were all given a satchel bag and taken to a place with a big pile of straw, and made our own mattress and returned to our assigned rooms, where there was a canvas cot. And that was our house for the next three years.

 

One room for a family of eight?

 

No; I think it was family of six children and below, it was one family; one room per family. We had eight children, and we just couldn’t physically fit into one – family, so we were given two families. And I think we were kind of the privileged families in the camp, because we had two. Everybody we knew had one room, and we had two rooms, and so my parents lined up … let’s see, seven cots in this one row for all my brothers and sisters. And they had one infant, so they took the other room and put the infant with them. And no chairs, no furniture, not else; just a place to sleep.

 

And was there a cafeteria? Nobody cooked without a stove, I take it.

 

That’s right. In addition to the barracks, they had … well, the barracks were arranged in blocks for about two hundred and fifty people in a block. And within that block, they had built a central mess hall, and washing facilities, and toilet and shower facilities where we all used it together.

 

How did that work, exactly?

 

Well, as a teenager, it was one of the most sensitive time of my life, privacy especially.

 

I think you were in sixth, seventh, and eighth grades while you were in camp?

 

That’s right; sixth, seventh, and eighth grade. And I remember being so shy about using the facilities, because both the showers and the toilet facilities were all lined in a row, with no partition between them.

 

Men and women in different facilities?

 

In different facilities, but —

 

But no stalls for toilets.

 

No stalls; no stalls for toilets. And so, sometimes I would get up like three o’clock in the morning, just worrying about whether anybody would be there with me. [CHUCKLE] But that never went away. I felt very, very humiliated. And I would have preferred at that time, those years, going back to that survival mode where we had an outhouse; one whole outhouse. I would rather have had that than the modern toilet facilities we had in camp.

 

What was day – to – day life like?

 

Well, I always have to compare it with how it was before. Before, we were in survival mode, working on a farm, walking to school each day. No friends; just hard work. All of a sudden, we’re in this community of ten thousand people, lots of kids my age. And it wasn’t long before the new normal took hold. And the new normal meant lots of play friends. You don’t have much to play with, but if you get a ball or football, a lot of good times. I didn’t feel like a minority in camp. The new normal took on a life of its own, because the camps were designed for all the residents to find some employment, and everybody who wanted to work found some employment. My father became a garbage collector, and my mother worked as a helping hand in the central mess hall.

 

So, the internment camp would pay federal wages?

 

I’m not sure federal wages; they got sixteen dollars a month. Doctors got nineteen dollars a month.

 

Woo – hoo. [CHUCKLE]

 

[CHUCKLE] So they were the upper class in camp. But they were mostly paid sixteen dollars a month; that was the going rate. And that’s like fifty cents a day.

 

So, was there a Minidoka School?

 

Well, when we went there, of course, ten thousand people arrived suddenly. They had built all these barracks. The first question was, Where will be put the children in school? And the only answer was, in the barracks rooms. No blackboards, just one room. Of course, the next thing they had to do was find teachers. Where are they going to find teachers? Some were teachers already in their professions, but certainly nowhere near the number needed. So, if one had a high school diploma, he or she became eligible to teach elementary school. And I think that was the case when I first went there. A young girl, I’m sure she was just a high school graduate, but taught, and taught very well. And I don’t regret in any way the quality of the education I received, even under those circumstances.

 

When the war ended in 1945, Takeshi Yoshihara’s family was grateful they were finally leaving the internment camp, but also anxious. They’d lost everything before, and once again, they had to start over and create a new life from scratch.

 

With my family of eight children, that was an army to take care of, and I know my parents worried a lot about it, where should they go. But one day, they heard from a church in Seattle that offered to make their basement spaces available for us, and they would take care of us and shelter us, and feed us until something better came along. So, we happily accepted. That resolved my parents’ survivor fears, I should say. And, so they accepted, and everybody received a train ticket or bus ticket, and twenty – five dollars per person spending money.

 

Even your infant brother?

 

Absolutely everybody; everybody that breathed got twenty-five dollars. Which we thought was very generous at that time. And so, with that, I forget, I think we took a train to Seattle, and the people at the church were there to greet us and to take us to their church. And it was a wonderful beginning, and I consider it a blessing from God that He interceded and found a place where we could start a new beginning.

 

A month later, the Yoshihara family found a place to live in Renton, Washington. And though there was anti – Japanese sentiment in the post – war United States, Takeshi says the family never felt discriminated against, not by neighbors or his classmates when he started high school.

 

How was your first day in school?

 

First day in school; well, of course, I had a lot of reservations walking into that school. But, I think the principal and the superintendent, and the authorities had done a marvelous job preparing for my classmates to receive me. And I was just amazed at how welcoming they were to me. But all of a sudden, I was going from a place of ten thousand others that looked like me, to a place where nobody looked like me. There were only, I think, two other Asians in my high school class; everybody else was Caucasian. So, of course, I felt being a minority again, and a minority of one is a very small minority.

 

Feeling as though he didn’t quite fit in, Takeshi Yoshihara struggled to make friends in high school. Without much of a social life, he focused on academics, and that paid off. After graduation, he would go on to become the first Japanese American admitted into the U.S. Naval Academy, and have a successful career in the U.S. Navy, where his nickname was “Tak”. Mahalo to Takeshi “Tak” Yoshihara for sharing his story. And mahalo to you for joining us. For PBS Hawaii and Long Story Short, I’m Leslie Wilcox. A hui hou.

 

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, to the Apple iTunes store, or visit PBSHawaii.org.

 

And how was your school experience at Annapolis as the first and only Asian in the class?

 

Well, it was more than that, because here, I had come from a family … well, we were at the chopstick stage, for eating, and all of a sudden you go there. Formal dining table, linen covered white tablecloths, and all the utensils out. All of them. And I’m looking at it, and looking to the side, left and right, and figuring out what’s the proper utensil to use.

 

You didn’t have computers in those days, so you couldn’t do a Wiki How. [CHUCKLE]

 

That’s right.

 

Which one is which?

 

That’s right.

 

 

 

 

Part 2: An Historic Journey

 

Have I experienced failure? Many times. Have I stumbled along the way? Many times. Have I faced dead ends during my career? Certainly.

 

Takeshi Yoshihara is a humble man who holds a special place in history. After growing up in poverty and spending three years in a Japanese American internment camp, he was chosen to do something no Japanese American had ever done before. Takeshi Yoshihara, 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. Takeshi Yoshihara’s childhood on the West Coast was not easy. His parents lost everything in the Depression, and again during World War II. At one point, he and his family of eight lived in a leaky shack without electricity. Despite his hardships, Yoshihara persevered and made history just out of high school. His journey started in 1949, with an invitation from a member of Congress; a letter that this self – described loner never expected to receive.

 

If I had my choice, I would have picked anybody but myself. And I’ll tell you why. Here I was, such an introvert; I lived my own life, I was not socially aware. On the other hand, those attending the Naval Academy, I think ninety percent were varsity athletes, they had letters or stripes on their sweaters, and they were class presidents and Eagle Scouts. And the only thing on my resume, aside from my grades, was the fact that one semester during lunch, I volunteered to be –they called it a patrolman. So, I got to wear the belt, and during lunch hour, I stood at the crosswalk to let students cross. And for that, I got a certificate, which is the only recognition that I had ever received in high school. But the congressman wrote me this letter saying, You have done very well in the competitive examination, I’m considering appointing you to the Naval Academy, but don’t say anything about it, because I have some policy issues to address before you’re notified. So, we agreed to that announcement as an opportunity. For me, it was that or nothing. I’d tried for scholarships; nothing came along, and I was resigned, as so many of us in those days, to find a job probably in gardening and earn some money for the family. So, this was my only chance. And what a wonderful chance, I thought, because they won’t charge you tuition, they won’t charge you for your food or for your room. In fact, they would pay you to go to school. And accepting it was beyond my dreams. And so, we waited, and sure enough, a month later came and he sent another letter saying, You are appointed to the Naval Academy.

 

It was a big deal. Takeshi Yoshihara was the first Japanese American appointed to the U.S. Naval Academy. However, Takeshi was worried he’d never spend a day in class for several reasons. For one, he’d have to pay his own way across country from Washington State to Annapolis, Maryland, and he feared he would not pass the physical exam.

 

Well, I had been wearing these glasses since freshman in high school.

 

That’s what you were worried about; your eyesight.

 

I was worried; very worried. Because that was the leading cause of people being disqualified in the physical.

 

Ah …

 

What I did was, I just prayed to God that He would heal me, and I just took off my glasses and for the last few months, the strength of my eyes, I think [CHUCKLES] …

 

Wow.

 

The other thing, of course, is, I got sick on anything that moved, whether in a car or a bus. I’d never been on a boat, but I can imagine being on a boat.

 

So, you were a seasick person applying for the Naval Academy.

 

That’s right. And I had deep reservations about that; very deep reservations. Yes.

 

That’s a lot of reasons not to do it, isn’t it? I mean, you have find you way for free, you were broke.

 

That’s right; that’s right.

 

You didn’t have the eyesight.

 

That’s right.

 

But you did it anyway.

 

Well, we had a family debate about that. And my older sister was a strong advocate, because she had a lot of fears about me, I guess, not being able to survive in that environment in the first place. So, she was the one that said, You must get a roundtrip ticket, because it’s cheaper, and will make sure you get home. But my argument made out that I’m just trusting God; He’ll find other ways for me to get back, and this is my step of faith to just buy a one – way ticket. So, that sounded good to the rest of the family. [CHUCKLE] So, I appeared before the physical, would you know it, the first question on this long list of do you or do not things, have you had this illness or that illness; the first question is, Do you have a serious problem with seasickness?

 

And your problem was serious; right? I mean, you got sick in cars.

 

I got sick in cars.

 

Yeah.

 

I paused a long time, and I think I answered all the other questions to come to that. And I decided, well, for one thing, I want to be truthful. I don’t want to say no, and they find out a month later that I should have checked yes. And besides, the good Lord’s gonna carry me through whatever direction He wants anyway, and if this isn’t for me, there’s something else for me. I felt that faith. And so, I checked, yes.

 

You do get seasick?

 

I get seasick. And as far as my eye examination, I think it was at the end of a hectic day for the medical technicians, and I think they just kinda waved me through.

 

And so, Takeshi Yoshihara became the first Japanese American sworn in as a midshipman at the U.S. Naval Academy. His nickname, Tak. As part of his studies, he had to spend two summers on a ship; he did, in fact, get seasick. He was so violently ill on his second tour that he almost got kicked out of school.

 

Well, the saying goes, when you get sick, you’re afraid you’re gonna die, then you get so sick so you’re afraid you’re not going to die. And I was in that latter stage for three weeks coming back. I wished I could jump over the rail and just end it all, because it was that bad. But when I got back in the fall, the authorities convened the board, and they said, Reports are that you’re unfit for the Navy, and we’re going to discharge you now, and will not let you permit to go any further, you will not graduate with your class, and you’ll be just discharged. And I agreed with everything they said, except I said, Well, if you look at my records, my very first physical questionnaire and every subsequent one for four years, I put what I honestly thought I was, which is seasick, and nobody questioned me about that. And I think that took them aback a little bit, and they checked it, and they called me back and said, You know, you’re right, we should have kicked you out before you entered. But now that you’re in, we’re gonna make sure that we give you the opportunity to graduate. You’ll get your diploma, but you will not get a commission to be an officer in the United States Navy.

 

How was your school experience in Annapolis as the first and only Asian in the class?

 

Well, it was more than that, because here, I had come from a family… well, we were at the chopstick stage, for eating, and all of a sudden you go there; formal dining table, linen covered white tablecloths, and all the utensils out. All of them. And I’m looking at it, and looking to the side, left and right, and figuring out what’s the proper utensil to use.

 

You didn’t have computers in those days, so you couldn’t do a Wiki – how [CHUCKLE]

 

That’s right.

 

Which one is which?

 

That’s right. And that went with so many other things. I never really learned how to Make a tie, for example. We had to wear neckties a lot. And all those other things I had to learn.

 

The things that were common to the other kids who were kind of BMOCs, big man on campus in their hometowns.

 

That’s right; that’s right. So, I think that’s part of the wisdom of the Naval Academy, that they never let you be assigned into a single room. They know that you could get help from your classmates and your roommates, and I think that’s a good way that they have there. So, I always had classmates or roommates throughout my four years, and I think that was a good experience.

 

And they mentored you, to an extent?

 

Oh, yes. We just became best friends. But being plebes — we were called plebes as soon as we were … as we took the oath of office as a midshipman, which all students at the Naval Academy are called. It was a shock and awe experience, because what they do is, they immediately do everything to strip you of any of your personal habits, personal ways. What they want to create is an empty bowl in which they start building up your character, your personality, your habits, things like that. So, I think maybe some of these hard football programs when they go out to football camp, they may face that kind of circumstance too, where they want to break you down, then build you up. And that was called Plebe Summer, and for seventeen hours a day, for six weeks, the one single thing you have is pressure. Physical pressure, mental pressure, moral pressures.

 

And the pressure, you mean to say, it was never racial discrimination?

 

I never experienced racial discrimination.

 

Even right after the war like this?

 

That’s right. I experienced a lot of mischievous tricks, but never racially motivated.

 

Eighteen – year – old Tak Yoshihara adapted to life in the Academy. In the beginning, he struggled to stand out in a very competitive field.

 

You wouldn’t believe how competitive in those days the Naval Academy was. It was important whether you stood tenth, or twelfth, or a hundred or five hundred. And we started out with twelve hundred. Everything was based on competition. It’s changed a great deal now, but back in 1949, your class standing was the most important thing, and it was cumulative over four years. And there were people in my class that were repeating classes that they had taken. My best friend at our wedding, who lives here, he had already graduated from Yale in engineering. I don’t know why he wanted to start all over again, but he was taking the exact same class in engineering. So, he played Bridge most of the time. But, here I was struggling, thinking I might what they called bilge out, which is flunk out, which many did. But, I loved academics, and that was my source of self – esteem in high school. My only source of self – esteem was to get good grades, and so, I worked twice as hard as anybody else, and I’d take home my grades, and my parents would be happy for me, and I would feel built up.

 

So, you had the discipline.

 

I made the discipline, because that was a good source for building up my own self – esteem, when I had nothing. And so, I carried that through the Academy, and I kept plugging away, and plugging away, and plugging away. And I’d start climbing up the ladder, so to speak, in my class standing. But then, every week, you knew where you stood. You took a quiz in every class every week, and on Saturday morning they’d put your results on a board in numerical order. So it was very, very competitive.

 

Did you enjoy that competition, the academic competition?

 

I don’t think anybody really enjoyed that competition. And I might say there was one exception. Everybody took the identical course, except we had a choice in language. And, we had a choice of French, German, or Russian. I chose Russian, because I knew everybody had taken French or German in high school, and I wanted a level playing field. And sure enough, nobody had taken Russian before, so that was my entry into foreign languages. But everything else identical course, identical exam, and then at the end of the week, you knew where you stood.

 

Well, from twelve hundred with whom you started, how many ended?

 

Nine hundred and twelve. And they left for a number of reasons. Just the environment was not good for some, and academics were not good for some. So, I don’t know why they left, but there was about a thirty percent reduction in attrition.

 

So, that must have been some day when you graduated.

 

Yes.

 

How did you celebrate?

 

Got married two hours after graduation.

 

So, you were busy with something other than Annapolis?

 

[CHUCKLE] I was very busy with my studies, but along the way, I met my wife Elva, and just fell in love with her. She had gone to a college in Boston, and transferred to Johns Hopkins University to get her bachelor’s degree in nursing. And she graduated at about the same time that I did from the Naval Academy, so we were both wondering where we’re going after we graduate. Of course, I was in the Navy, and not a place that she would travel to, I’m sure, so we decided best that we get married, and that’s what happened. [CHUCKLE]

 

The year was 1953; and while Tak Yoshihara was a newlywed, he thought his chance at a career in the U.S. Navy was over, until, one of his instructors at the Academy stepped forward.

 

He was an officer at the Academy who had been grievously injured during the Pearl Harbor attack or the Japanese attacked on his ship, on his battleship. And he had come from three generations of admiral, and he had every expectation to succeed as part of his family tradition. Well, I didn’t know him well; I just took one lecture from him, but he heard about it. Well, as a result of Pearl Harbor, he had lost his leg and he was the only officer on campus walking with a wooden leg in uniform. So, they had made an exception for him. And he contacted me and said, I know a remote part of the Navy you’ve never heard about where officers never need to go to sea, and I just want to know if you’re interested in serving in the Navy. Well, I jumped at that, because it would have been a shame for me to complete Annapolis and be reported that I was discharged for being unfit for service in the Navy. So, I jumped at that, and within a matter of a week or so, he had gone to Washington, D.C. and had a waiver prepared for me so that I could ultimately join what was called the Civil Engineer Corps in the Navy.

 

But first, you had to get a civil engineering degree?

 

Yes; that meant I had to wait a year, and I would be sent to a very nice school called Rensselaer Institute of Polytechnics, a private college in Upstate New York, where I got my bachelor’s degree in civil engineering, and then I received my civil engineering degree and became officially a part of this navy that I knew nothing about.

 

And what did you do as a civil engineer in the Navy?

 

Well, first of all, I had like ten different stations. [CHUCKLE] But my first trip was out to Midway Island. From New York, traveled.

 

So, definitely not the cushy first station; right?

 

No.

 

With the atoll. [CHUCKLE]

 

It was middle of the Pacific. You’ve heard of Midway Island.

 

Gooney bird central.

 

It’s only one mile by two miles. And when I got there, Elva was pregnant, and the day our son arrived …

 

Did Elva give birth on Midway?

 

Yes. She was the first one that year to give birth on Midway; it was in March. And it coincided in 1957, when a tsunami hit the Pacific that very night.

 

Oh!

 

So, she gave birth while I was out clearing out the airfield which had been inundated with trash and everything else. And so, we have memories of our little time in Midway together. [CHUCKLE]

 

You know, nothing you’ve described has been really easy so far in your whole life.

 

Well, no, I thought it was not that difficult. From Midway, I went to Las Vegas, and nobody knows that there’s a naval base in Las Vegas.

 

Who would think a landlocked state, right?

 

They don’t now; they did it for a very short time, and I happened to be along when they needed somebody to be in Las Vegas. So, I had an interesting career there. But the rest of my career was more peanut butter type things, where I built things, and took care of the sewage and the roads, and everything else, interspersed by opportunities for education. And that’s what I loved so much to do from way back. That was a passion for me that I developed in high school. I always had a passion for education; still do.

 

That passion for education drove Tak Yoshihara to get two master’s degrees, and a PhD, while serving in the U.S. Navy where he rose to the rank of Captain. At one point, he was sent to Vietnam, where he was the deputy in charge of construction for all U.S. military services. He helped build ports, runways, and barracks during the war.

 

Periodically, the Navy … I think it’s kind of a carrot – and – stick approach. When you get to the point where you’ve completed your obligated service, or thinking about leaving and maybe going to school, or getting a job somewhere, they’d put this carrot out and say, If you’re interested in graduate school, we’ve got a few openings and you’re welcome to apply. And so, you can understand how grateful I am, how the Navy changed my life. Here, I may have been a laborer as a gardener following in my father’s footstep, or being here in Honolulu, living in paradise. So, I credit a great deal to the wonderful, wonderful government that I’m so proud of.

 

Somehow, I just don’t picture you ordering people around.

 

Well, I don’t either. I would have never thought … entering the Navy in any form, whether it’s the lowest enlisted man or anybody, being able to get up and shout, Don’t give up the Navy, or Don’t sink the Navy, or these famous sayings that thank God, I’ve never been in that position to do so.

 

But you’ve led men.

 

Yes.

 

And later, women.

 

My styles have been very different, and I’m grateful for that opportunity.

 

Well, what was your military style, your naval style?

 

Well, I like to say that whenever I had people under me, I never forgot my roots. I wanted to be an encourager. I try to find ways for people to realize their hopes and dreams. I was a helper, and a leader can be a helper.

 

In 1974, after twenty – five years in the Navy, Takeshi Yoshihara retired and moved to his wife’s hometown here in Hawaii. Soon after, he took a job working for Hawaii U.S. Senator Spark Matsunaga.

 

I worked for him; I agreed to help him for two years. Elva was teaching at the Kapiolani Community College, so I felt I could take off two years, and they were one of the most wonderful years of my life. A senator who is one of one hundred most powerful people in the country, being senators, and I saw the world in a different light from power; the power that they have.

 

Did that necessitate a move to D.C.?

 

I moved to D.C. We kept our house, and Elva took her second year of teaching as a sabbatical, and so, we lived the second year in Washington, D.C. Had a marvelous time. Going to that capitol every day, and just being in awe of all the senators and congressmen, and hearing them speak, and that sort of thing. It was a wonderful experience.

 

There you are, back to government service. Did you do other government service?

 

Well, I returned, and the federal government established and wanted me to head a Federal Energy Office out of the Federal Building here, which I agreed to do, and it covered the entire Pacific. I did that for three years, and through Governor Ariyoshi, I got the privilege of starting the first State Energy Office in the State. I did that, and then I later worked for Governor Waihee. Both governors were wonderful people.

 

Throughout Tak Yoshihara’s life of ups and downs, his love for his country and his faith in God never wavered.

 

Very much so, Leslie. I’m glad you mentioned that. Because, how can a family of eight children be so blessed.

 

In the Depression, during a world war.

 

We’re still all alive; all eight of us, from eighty – eight to seventy. And our closeness is as tight as can be; and it’s because of one thing, God at the center of each of our lives. Have I experienced failure? Many times. Have I stumbled along the way? Many times. Have I faced dead ends during my career? Certainly. Well, what got me through is, in every case I had stretcher bearers, beginning with God maybe sending people on the way. They could have been friends, family certainly, people praying for me. God has given me the opportunity that I’ve sometimes taken, where I could pray for others, where I could, in raising my children act as a stretcher bearer in their growing up. And then, when I took command or supervised people that I had to lead, I could be a stretcher bearer for them. I could inspire them, I could encourage them, I could hope to see them fulfill their aspirations; and to that extent, I was a stretcher bearer. So, we can all identify, if we’ve gone through life’s trials and triumphs, as both being a patient as well as a stretcher bearer. And we’re blessed.

 

Takeshi “Tak” Yoshihara watched his younger son follow in his footsteps. David Yoshihara also graduated from the Naval Academy and also became a Captain in the U.S. Navy. And just before our conversation in 2013, Tak and his wife Elva happily celebrated their sixtieth wedding anniversary. Mahalo to Takeshi “Tak” Yoshihara, the first Japanese American ever appointed to the U.S. Naval Academy and a career naval officer. And mahalo to you for joining us. For PBS Hawaii and Long Story Short, I’m Leslie Wilcox. Aloha, a hui hou.

 

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.

 

Does Elva speak Pidgin at all?

 

No, she does not at all. I mean, she’s third generation, so her parents were like me; they spoke English. So, she never spoke Japanese or Pidgin. She grew up in this area, and I think she understands pidgin.

 

I’m sure she does.

 

Well, yeah, we all do to a certain extent. I love Frank DeLima.

 

[CHUCKLE]

 

I can understand him. [CHUCKLE]

 

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Sam Low: Raising Islands

 

As a crewmember on the Hokulea, waterman Sam Low experienced the chicken skin moments when, as the canoe would approach a Pacific island, the island itself would appear to be raised out of the distant horizon as the canoe sailed closer. As a documentarian, author Sam Low heard the vision, fears and dreams of master navigator Nainoa Thompson and those involved with sailing the canoe.

 

Transcript

 

Nainoa has said that early on he’s been hindered by a fear of failure. Do you know how he resolved that? Because he certainly succeeded.

Courage. He resolved it by being courageous, I think. It was Nainoa’s job to be the first Hawaiian in perhaps a thousand years, after that devastating accident, devastating loss of Eddie Aikau, to take the canoe as navigator on the first voyage in a thousand years that a Hawaiian has navigated. So, naturally, he was fearful. He was fearful for his own ability, but he was fearful for his people. Because if he failed, that would have been, Oh, Hawaiians, yeah. I have the feeling that his father helped him understand that there’s a deeper mission. That everything is based on helping your community, helping your people, and that your fear or your immediate reluctance is nowhere near as important as pushing through it to get that mission accomplished.

In researching his book, Hawaiki Rising, Sam Low spent hours interviewing his cousin, Nainoa Thompson, talking to him about the double-hulled canoe Hokulea, and what drove his dream to voyage in the wake of his ancestors. Sam Low, 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. Sam Low was born and raised in Connecticut. His Hawaiian father left the Big Island to attend prep school on the Continent, where he got married, never to return home again. Their son Sam inherited his father’s love of the ocean and of boats, and grew up spending summers at the beach on Martha’s Vineyard, where he still lives at the time of our conversation in 2014. Sam Low made his first trip to Hawaii as a young naval officer, and has been coming here ever since, connecting with his family that includes Nainoa Thompson. Sam’s background as a documentary filmmaker, his ocean skills, and his family connections eventually led him to become a crewmember on Hokulea, where his role on the voyaging canoe was that of the documentarian. His job was to observe, and through that, he got to experience what life is like sailing on a canoe in the middle of the ocean, thousands of miles away from land.

My role on Hokulea has always been as a writer, as a documenter. Usually, on Hokulea, you’re a crewmember, and so that’s basic. You know, you stand your watch, and you do all that. But you have another role as well, which is, you could be a cook, you could be a watch captain, you could be a carpenter, or you could whatever. And my role was as documenter. And so, that fit, you know, what I had been doing for so many years prior to that, going out and documenting, either filming or writing about, or doing a thesis at Harvard about a way of life that I wanted to bring back and I wanted to give you, wanted you to have this gift. I have seen this, I have been there. And now, I want you to have it. And that was a perfect blend of what the job was. As a documenter, the kuleana, or actually as any crewmember, the kuleana on Hokulea.

Isn’t it interesting that all your interests sometimes come together and inform each other into one wonderful culmination?

Yeah. I probably never would have gotten on the canoe if it hadn’t have been that I did have this skill of being able to write. And of course, it didn’t hurt that Nainoa was my cousin, and I had a relationship with him. I was invited on the voyage to Rapa Nui. And that was actually my first trip on the canoe. The voyage to Rapa Nui was supposed to be the hardest voyage, because the prevailing winds are against you. And so, Nainoa had predicted that it would have to be tacking into the wind. So, this would be a zig-zag all the way. So, what was maybe, I think about seventeen hundred miles could easily become three thousand miles, if you had to tack. So, he chose a veteran crew. He had on board those folks like Tava Taupu, and Michael Tongg, and Snake Ah Hee, and Bruce Blankenfeld, and you know, Kalepa Baybayan. The best of the best. They set off. Now, I should say that this was the first voyage that I was actually invited to go on. But Nainoa wasn’t quite sure about me. I had made one voyage on the escort boat, and that went fine. So, he just wasn’t sure, and he put me on the escort boat and he said, You’re gonna be on the escort boat for four or five days, we’re gonna see how it goes, and if everything’s going okay on the canoe, then we’ll bring you over.

Why was Nainoa unsure about whether to have you on the Hokulea? ‘Cause you’re a waterman, you’ve been around water all your life in different kinds of craft.

Right; but you have to remember that on that voyage, there were the tested men, they were the best of the best. These men had probably voyaged thirty thousand, forty thousand miles. Not only that, they’re surfers, and they’re athletes.

And did Nainoa figure you could document it just as well from the escort boat?

I think he knew I couldn’t do that. But I think he wanted to just be sure. I think he wanted to go out and to see, and if it was a slog, and it was what he expected it to be, the most severe test of endurance, then maybe I would have stayed on the escort boat. But it didn’t turn out that way; it turned out to be easier. And so, I think that’s why he invited me.

So, it had to do with physical conditions?

Physical training.

Not fit?

Not fit. Not like those guys. No; uh-uh. Those guys, well, look at them. I mean, look at Tava. You know, look at Snake. All of those guys are watermen, all the time. You have to remember, New England, it’s the winter, so I get to swim four or five months out of the year. I was not in the kind of shape that those guys were, so I think that’s what his reservation might have been. So, I think on the fifth day, we got word that they wanted me to go over. And I’m like, Yes! And it was one of those rainy, kind of drizzly days, not a lot of wind, and I was rowed over by one of the crew on the escort boat. And Hokulea is up here, and I kind of crawled in. You crawl over the hulls, and then you crawl up over this canvas kind of space shield. And I remember crawling out and looking up, and there was Mike Tongg. His appearance is like this gentle, loving Buddha, you know. He has that kind of loving appearance. And the rain was just dripping down off his face, like this. And he was looking down at me with this beneficent smile. He didn’t say a word; just … Welcome, good to see you. And so, I just immediately felt at home with Mike’s blessing. He’s such a veteran on that canoe. But Nainoa had felt that we had to be prepared for the slog of wind. But as it turned out, fortuitously, at that time of year, down in the roaring forties … I hope I’m right, but I think that we were probably up around twenty degrees south. And down around forty degrees south, there were a number of low pressure areas that were spinning storms up toward us, spinning wind up toward us. And so, they broke the trade winds, and they created following winds. So that Nainoa seeing that, set off basically in a storm, and sailed along with the wind coming from behind, spun up by these storms down in the roaring forties, until that storm went through, and then we were kind of the calm. And then the trades would fill in again, and we’d do a little tacking, and then another storm would come along. And we made the trip so much faster than what was predicted, that we got there a week before our welcoming party.

Nice when storms are your friends.

Yeah; yeah. So, it turned out to be a lot easier in terms of the crew, and in terms of the endurance than we thought it was gonna be. More difficult from the navigation point of view, because often you would have cloudy skies. In fact, on that voyage to Rapa Nui, two or three days before Nainoa found the island, we started to have cloudy skies, and he had no real sight of his guiding star. He was steering pretty much by swells, and he was navigating by dead reckoning. So for three days, he was navigating by instinct, trained instinct. And on the day that we sighted Rapa Nui, the winds shifted. He was going to do a zig, and instead of doing a zig, the wind shifted and kind of pushed us in the direction that he thought we wanted to go. And he said, We’ll follow the wind; we’ll just stay, we’ll follow the wind. Hokulea knows where she wants to go.

Now, when you can’t navigate by stars, does he sleep at all? I mean, because he’s always watching current conditions.

Yeah; he is. Well, when you’re not navigating by the stars, you’re navigating pretty much by the swells and the wind. Of course, the wind was gyrating around and changing, so he was using the swells to navigate. Normally, if he’s alone on a voyage, then he will sleep in catnaps. He’ll sleep for maybe twenty minutes, thirty minutes, and then jump up and be awake for, say, eight hours, and then lie down for twenty or thirty minutes, and jump up. And he’ll do this for thirty days at a time. One of his great fears on that first voyage in 1980 was he wouldn’t be able to stay awake. That’s Mau’s secret, not mine; I can’t do that. But it was one of those first, as he calls them, the doors of perception had opened. One of those first doors that opened was that when they set sail out of Hilo and started on the voyage, after about fourteen hours, he decided he was really tired, he was gonna take a little nap. And he lay down, and he lay down for about fifteen or twenty minutes, and he jumped up and he was refreshed. And he said that was the first kind of sense that there is something in navigation, there is something in accepting the challenge and the risk that comes from another level, and that he was able to that, on that first voyage. And that’s what he normally does. On this voyage, the Rapa Nui voyage, he had Kalepa Baybayan on board, he had Bruce Blankenfeld on board; he had trained navigators with him. So, he could sleep.

If you don’t have enough sleep for enough time, I mean, I would think your judgment becomes impaired. So, I guess you have to have a limited goal in terms of time? How do you do that?

He does it for a month at a time.

Amazing.

I have no idea; I couldn’t do it.

So, maybe because you have a goal and you’re trained, and you’re generally in good shape, you can manage your mind and your brain cells for that amount of time.

Yeah; it’s a mystery to me, how he can do it. You know, it’s always chicken skin if you’re crew, and/or a documenter particularly, my job being to watch everybody, and to record. But you know, I’ve watched Nainoa pretty intently, and it’s always that moment when he says, Post lookouts, land is near. And then, I would get to go ask him, Well, what’s going on? He’d say, Well, I think Rapa Nui is there. And he put Max Yarawamai, who is Carolinian, who has great eyesight, he put him on watch. And about five hours later, there it was, Rapa Nui. And it was pretty much where he said it was. And Rapa Nui is tiny. And so, he found this island after seventeen hundred miles.

After sailing to Rapa Nui, Hokulea navigator Nainoa Thompson invited Sam Low aboard the canoe for the trip home. This second experience gave Sam even more insights into how Nainoa used nature and his intuition based on experience to guide him to exactly where he wanted to go.

The second voyage I got to make was from Tahiti to Hawaii. And we’d been at sea for, I think, about twenty-four, twenty-five days. Had lots of storm on that particular voyage, lots of squalls. I’m going to say it was the twenty-fifth day, I forget exactly, Nainoa turned the canoe downwind. We’d been headed into the wind all the time to get to the east of the Hawaiian Islands, and he turned downwind. So, we knew something was up. And steering downwind on Hokulea, the sails are on either side, wing-on-wing, ‘cause the wind is directly from behind. And we were steering that way for a while. We couldn’t see anything; there was this gentle mist wafting over the canoe. You could feel the sun, but you couldn’t see it. Visibility ahead was maybe oh, I don’t know, half a mile.

And during this time, do you say, Hey, Nainoa, what’s going on? Or do people not talk about what’s up?

Well, I got to be bratty, because I was the documenter. So, I didn’t say anything for a while, but we went wing-on-wing, and then the wind changed slightly, and so one of the sails came over. So, now, we’re sailing like this. We felt that. And around six o’clock, I saw Nainoa was just back there on the navigator’s platform, just peering intently ahead. Again, this mist was coming over. We couldn’t see anything; I couldn’t see anything. So, being a documenter, I get to go back and say, you know, What’s going on? He said, Well, Hilo is right there. After twenty-five hundred miles, twenty-five days, Hilo is right there? So, I said, How do you know? And he said, Well, do you remember when the sail, when we couldn’t sail wing-on-wing? Well, that’s because we got into that place where the winds are coming and being broken by Mauna Loa and Mauna Kea, and churning around the island. And so, that wind shift, that gentle wind shift told me that we’ve gotten into that zone where the winds are breaking. You know, these mountains are fourteen thousand feet high. And he said, Look ahead, you see that mist seems to stall, it seems to slow down. So, I looked. Yeah; okay. Keep going. I know I couldn’t see it. And he said, If you look—the sun was starting to go down. If you look on either side, you can see it’s kind of dark ahead of us, and it’s a little bit lighter there.

You couldn’t see it?

I couldn’t see it. And so, I wrote it all dutifully down. And then we sailed on for a while, and then he tacked. And I said, Well, why’d you tack? He said, We’re on the Hamakua Coast, and I don’t want to get too close. Of course, none of us can see this. This is after twenty-five days. I don’t want to get too close, and Hilo is right over there. And so, I said, Okay; write it down. And then, we all felt it. And we all went over to the rail, and the whole crew is standing there looking, and Nainoa said Hilo is there, and they know Hamakua must be there. And we waited for about fifteen minutes, and then fortuitously, that low cloud layer lifted; just lifted. And there it was, the twinkle of the coast, Hilo over here, the lighthouse. And at that moment, Nainoa just said, We’re home.

Wow.

After twenty-five days. So, that’s the chicken skin, that when you’re navigating with someone like Nainoa or Kalepa Baybayan, or Bruce Blankenfeld, or Chad Paishon, or Shorty Bertelmann, any of these great navigators who have dedicated their life to merging with the signs of the sea, and you have the privilege to be on a canoe after that much time, and to see land is there, exactly where they say it is.

What happens over the twenty-five days, say, of a voyage? Is there a lot of talk? Is there a lot of laughter? What do people do, day-by-day?

I think it depends a lot on the crew and on the chemistry of the crew. And I think it’s all of that. But if I think back on it, I think more of a kind of … quietness, actually. I don’t think so much of laughter; there’s that. I don’t think so much of talk; there’s that. I don’t think so much of music, although there’s that. I think of the quietness of being at sea, and the feeling of being out in an immense ocean, completely alone, and you don’t see another ship, you don’t see another person, you don’t see land, and you get into kind of a rhythm of watch-standing, of being alert, and being relaxed, and being alert, and being relaxed, of the stars turning, and the moon and the sun. And there’s a blending with that diurnal rhythm so that it’s a meditation you get into. I think it’s a mediational state. I think it’s a very relaxed state. I think that even in storm aboard a vessel like Hokulea, which is so staunch and so seaworthy, and so sea kindly, that you’re not afraid. You know that if you do everything right, if you follow the instructions of your captain, if you bring the sails down, if you stand your watch properly, you’ll be fine. So that’s not it. It’s not anxiety, it’s not fear; it’s contemplation, it’s meditation. And actually, I think for most of us, say after five or six days, you’re just in the rhythm, and then when the canoe turns down and the navigator says, We’re there, we’re almost sort of like saying, Well, that’s good, we can have a hamburger, we can have a beer, but you know, why don’t we just keep going. ‘Cause you’re in this world. You’re with your crew, you’re with the weather, you’re with the canoe, you’re in this meditational almost Buddhist, Hawaiian meditational state, and you don’t want it to stop.

Sam Low started working on a book about Hokulea after he returned home from the Rapa Nui voyage in the year 2000. At first, he didn’t know what would be in the book, but it finally came together, and Hawaiki Rising was published in 2013. It tells the story of Hokulea, Nainoa Thompson, and the Hawaiian Renaissance.

There was a period of time, and I think it was uh, 2010. See, I’d been working on this book for ten years. I mean, I didn’t really know that I’d been working on it for ten years. I was just recording, and I was writing articles. The first idea for a book would be a picture book, and then I went off and did my grandpa’s book. And I got partway there, and then I came back onto this. But there was a time, I think it was 2010, when I did have a chance to interview Nainoa very extensively. I was living in the family compound, and the guest house is, you know, a hundred yards from his house. And I would sit and wait, and every time he came out, I’d say, Hey, Nainoa, how you doing? You know, and he’d say, Not today, Sam, not today. Okay, okay. And then, How you doing? Yeah; okay, come. And so, we’d sit and spend two or three hours with a tape recorder, and I think the exchange did help him bring together all his experiences. Well, it was certainly great for me, because I was able to get this raw material for Hawaiki Rising. But I think it also helped him bring together his own experiences and correlate that, and put it together into kind of a set of values and a philosophy. It’s his philosophy, but I think in being able to exchange with another person who he was fairly intimate with, that it did help him in that. And at that time, about three years ago, the concept of moolelo became very important. And he expressed that; he said, You know, we stand on the shoulders of heroes, and it’s very important that as we move forward around the world, that we look back, and that we celebrate and bring with us the spirit of those people who made all of this possible, and the lessons that we learned from them, from his father Myron Pinky Thompson, from Mau Piailug, from Wally Froiseth, from Ben Finney, from Herb Kane, from all of those who had built the canoe, who had the vision of the canoe, who had sailed the canoe, and that evolving vision, that gift that they gave to all of us who’ve sailed on the canoe. He wanted that to be celebrated, and part of that was the book, Hawaiki Rising. It is a celebration of those heroes whose shoulders we stand on today. He expresses in Hawaiki Rising very clearly how fearful he was of that time of his first voyage. You have to understand that everything depended on it, that the canoe had capsized, that they had lost Eddie Aikau, and that Hawaiians were on the cusp of being able to, through voyaging, and all the other arts as well, not just voyaging, but Hokulea was the symbol of the Renaissance. Through voyaging, to recapture this great pride of ancestry. And the canoe had capsized. There was a great deal of anxiety, which he expresses in the book. And he pushed through, and he discovered deeper reserves, I think, of courage and of a sense of connection to his ancestors that allowed him to enter a world of understanding and of comprehension that was deep and that was powerful.

You went back and talked to a number of the people we associate with Hokulea over the years. What did some of those conversations yield in terms of insight about the voyages?

Well, they were key. The book is made up of what I like to think of as a chorus of voices. See, I’m not in it. It’s not my story. I’m the person that’s behind the camera, if you like, or that’s writing the story, singing the song, I hope. And I had this opportunity to interview dozens and dozens of crewmembers, and I wanted the book to be a chorus of voices. I wanted it to be told in the voices of the people that experienced it, not an impersonal narrator, a personal narrator. And I didn’t know that that would work. It’s like an oral history. And I’ve been very interested in oral histories, something told directly, authentically from the person who experienced it. So, the opportunity—and of course, I was very kind of shy and bashful. I mean, Tava Taupu, and Snake Ah Hee, and Herb Kane, and Nainoa and Pinky, and Marion Lyman-Merserau, and Dave Lyman. I mean, these are heroic figures to me. So, to have the honor that they would sit down and talk with me was terrific. And I didn’t want that to end. You know, so writing the book, you have to eventually do that; right? But the great pleasure was to have those moments, those intimate moments with people on whose shoulders we all stand on, and to have them tell me their story. That in itself, was the process, is sometimes more important than the product.

Through the eyes and ears of Sam Low, we all get to experience what it’s like to sail aboard Hokulea as she makes her way across vast oceans, guided by the stars and other natural elements, to faraway destinations. Mahalo to Sam Low for sharing his stories with us, and mahalo to you for joining us. For PBS Hawaii and Long Story Short, I’m Leslie Wilcox. A hui hou.

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.

Pinky evolved a philosophy that came out of voyaging. He said, You first have to have a vision, and you have to have a vision of an island over the horizon. And once you have that vision, then you have to formulate a plan to raise that island from the sea, Hawaiki rising. And then, you need to have discipline to train, to achieve that plan. And then, you need to have the courage to cast off the lines, and then you need to have the aloha to bind your crew together to find the island. So, those are values that were inherent in Pinky’s view in voyaging, and also in the world, and also all cultures of the world. So, he brought this philosophy from the past, brought it to the present, and made it a possible future. And Hokulea is voyaging around the world with that philosophy in mind.

 

[END]

 

 

LONG STORY SHORT WITH LESLIE WILCOX
Guest Archive

LONG STORY SHORT WITH LESLIE WILCOX: Guest Archives

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Isabella Aiona Abbott

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Abbott

Joy Abbott*

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Bob Apisa

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Loretta Ables Sayre

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Agbayani

Amy Agbayani

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Maenette Ah Nee-Benham*

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Clyde Aikau

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Senator Daniel Akaka

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Henry Akina

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Viswanathan Anand

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LONG STORY SHORT WITH LESLIE WILCOX: Bryan Andaya

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Andrade

Carlos Andrade

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Ariyoshi

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Phil Arnone

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LONG STORY SHORT WITH LESLIE WILCOX: Paul and Grace Atkins

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Awai

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Gail Awakuni

Gail Awakuni

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Keola Beamer

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Dr. Billy Bergin

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Mary Bitterman

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Jimmy Borges

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Michael Broderick

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Desotos Brown

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Jim Burns

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Christine Camp

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Daniel Case

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Lee Cataluna

Lee Cataluna*

Lee Cataluna Audio Pt. 1: A Writer’s Journey

Lee Cataluna Audio Pt. 2: Creation and Change

Lee Cataluna Transcript Pt. 1: A Writer’s Journey

Lee Cataluna Transcript Pt. 2: Creation and Change

 

 

Ben Cayetano

Ben Cayetano

Ben Cayetano Audio

Ben Cayetano Transcript

 

 

Momi Cazimero

Momi Cazimero

Momi Cazimero Audio

Momi Cazimero Transcript

 

 

Robert Cazimero

Robert Cazimero

Robert Cazimero Audio

Robert Cazimero Transcript

 

 

Leslie Wilcox

CELEBRATING MOMS*

*Audio not available

CELEBRATING MOMS Transcript

 

 

Clarissa Chun

Clarissa Chun*

*Audio not available

Clarissa Chun Transcript

 

 

Jack Cione

Jack Cione*

Jack Cione Audio

Jack Cione Transcript

 

 

 

Clark

John Clark

John Clark Audio

John Clark Transcript

 

 

Linda Coble and Kirk Mathews

Linda Coble & Kirk Matthews*

*Audio not available

Linda Coble & Kirk Matthews Transcript

 

 

Jerry Coffee

Jerry Coffee*

Jerry Coffee Audio

Jerry Coffee Transcript

 

 

Sam Cooke

Sam Cooke

Sam Cooke Audio

Sam Cooke Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX - Courage in Captivity: Three POWs' Stories

Courage in Captivity: Three POWs’ Stories

Courage in Captivity: Three POWs’ Stories Audio

Courage in Captivity: Three POWs’ Stories Transcript

 

 

Victoria Cuba

Victoria Cuba

Victoria Cuba Audio

Victoria Cuba Transcript

 

 

D

 

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Gavin Daws

Gavan Daws

Gavan Daws Audio

Gavan Daws Transcript

 

 

Dedrick

Layla Dedrick

Layla Dedrick Audio

Layla Dedrick Transcript

 

 

Frank Delima

Frank DeLima*

Frank DeLima Audio Pt. 1: Road Not Taken

Frank DeLima Audio Pt. 2: Laughing with You not at You

Frank DeLima Transcript Pt. 1: Road Not Taken

Frank DeLima Transcript Pt. 2: Laughing with You not at You

 

 

Jon De Mello

Jon de Mello

Jon de Mello Audio

Jon de Mello Transcript

 

 

Skippa Diaz

Skippa Diaz*

Skippa Diaz Audio

Skippa Diaz Transcript

 

 

Walter Dods

Walter Dods

Walter Dods Audio Pt. 1: Banker and Community Leader

Walter Dods Audio Pt. 2: Banker and Community Leader

Walter Dods Transcript: Banker and Community Leader

 

Mitch D'Olier

Mitch D’Olier

Mitch D’Olier Audio

Mitch D’Olier Transcript

 

 

Mark Dunkeley

Mark Dunkerley

Mark Dunkerley Audio

Mark Dunkerley Transcript

 

 

E

 

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Ron Edmonds

Ron Edmonds*

*Audio not available

Ron Edmonds Transcript

 

 

Enos

Solomon Enos

Solomon Enos Audio

Solomon Enos Transcript

 

 

Espiritu

Peter Rockford Espiritu

Peter Rockford Espiritu Audio

Peter Rockford Espiritu Transcript

 

 

F

 

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Denby Fawcett and Bob Jones

Denby Fawcett and Bob Jones*

*Audio not available

Denby Fawcett and Bob Jones Transcript

 

 

Francis

Ed Francis*

*Audio not available

Ed Francis Transcript

 

 

Paula Fuga

Paula Fuga

Paula Fuga Audio

Paula Fuga Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Linda Furuto

Linda Furuto*

Linda Furuto Audio

Linda Furuto Transcript

 

 

 

Glenn Furuya

Glenn Furuya*

Glenn Furuya Audio

Glenn Furuya Transcript

 

 

G

 

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Long Story Short Rose Galera

Rose Galera*

Rose Galera Audio

Rose Galera Transcript

 

 

Edwin Gayagas

Edwin Gayagas*

Edwin Gayagas Audio

Edwin Gayagas Transcript

 

 

Heather Haunani Giugni

Heather Haunani Giugni*

Heather Haunani Giugni Audio

Heather Haunani Giugni Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Ed Ginoza

Ed Ginoza*

Ed Ginoza Audio

Ed Ginoza Transcript

 

 

Gon

Sam Gon*

*Audio not available

Sam Gon Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Guest Shep Gordon

Shep Gordon*

Shep Gordon Audio

Shep Gordon Transcript

 

 

Goto

Ralph Goto*

*Audio not available

Ralph Goto Transcript

 

 

Alice Greenwood

Alice Greenwood*

Alice Greenwood Audio

Alice Greenwood Transcript

 

 

Hoala Greevy

Hoala Greevy*

Hoala Greevy Audio

Hoala Greevy Transcript

 

 

H

 

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Richard Ha

Richard Ha

Richard Ha Audio

Richard Ha Transcript

 

 

Wong Hadar

Jasper Wong and Kamea Hadar*

*Audio not available

Jasper Wong and Kamea Hadar Transcript

 

 

Haili

Rachel and Lorraine Haili*

*Audio not available

Rachel and Lorraine Haili Transcript

 

 

Haines

Frank Haines

Frank Haines Audio

Frank Haines Transcript

 

 

 

Al Harrington

Al Harrington*

*Audio not available

Al Harrington Transcript Pt. 1: A Cup Half Full

Al Harrington Transcript Pt. 2: A Life of Gratitude

 

 

 

Leslie Wilcox

Hawaii as Home*

*Audio not available

Hawaii as Home Transcript

 

 

 

Gerri Hayes

Gerri Hayes*

Gerri Hayes Audio

Gerri Hayes Transcript

 

 

 

Holly Henderson

Holly Henderson

Holly Henderson Audio

Holly Henderson Transcript

 

 

Will Henderson

Will Henderson*

*Audio not available

Will Henderson Transcript Pt. 1: Humble Beginnings

Will Henderson Transcript Pt. 2: Life Lessons

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Jeannette Paulson Hereniko

Jeannette Paulson Hereniko*

Jeannette Paulson Hereniko

Jeannette Paulson Hereniko Transcript

 

 

Sharon Hicks

Sharon L. Hicks*

Sharon L. Hicks Audio

Sharon L. Hicks Transcript

 

 

Jessie Higa*

*Audio not available

Jessie Higa Transcript

 

 

Marion Higa

Marion Higa*

Marion Higa Audio

Marion Higa Transcript

 

 

Ryan Higa

Ryan Higa*

Ryan Higa Audio

Ryan Higa Transcript

 

 

Hokulani Holt

Hōkūlani Holt

Hōkūlani Holt Audio

Hōkūlani Holt Transcript

 

 

Pegge Hopper

Pegge Hopper

Pegge Hopper Audio

Pegge Hopper Transcript

 

 

Mamo Howell

Mamo Howell

Mamo Howell Audio

Mamo Howell Transcript

 

 

Claire Hughes

Claire Hughes

Claire Hughes Audio

Claire Hughes Transcript

 

 

Mahina Eleneki Hugo

Mahina Eleneki Hugo

Mahina Eleneki Hugo Audio

Mahina Eleneki Hugo Transcript

 

 

I

 

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Senator Daniel Inouye

Senator Daniel K. Inouye*

Senator Daniel K. Inouye Audio

Senator Daniel K. Inouye Transcript

 

 

Robert Iopa

Robert Iopa*

Robert Iopa Audio

Robert Iopa Transcript

 

 

Mike Irish

Mike Irish*

Mike Irish Audio

Mike Irish Transcript

 

 

J

 

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Denby Fawcett and Bob Jones

Bob Jones and Denby Fawcett*

*Audio not available

Bob Jones and Denby Fawcett Transcript

 

 

K

 

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Ku

Kū Kahakalau

Kū Kahakalau Audio

Kū Kahakalau Transcript

 

 

Kawika Kahiapo

Kawika Kahiapo

Kawika Kahiapo Audio

Kawika Kahiapo Transcript

 

 

Clarence Boogie

Clarence “Boogie” Kahilihiwa

Clarence “Boogie” Kahilihiwa Audio

Clarence “Boogie” Kahilihiwa Transcript

 

 

Kalama

Corbett Kalama

Corbett Kalama Audio

Clarence “Corbett Kalama Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Mick Kalber

Mick Kalber

Mick Kalber Audio

Mick Kalber Transcript

 

 

Kalekini

Danny Kaleikini

Danny Kaleikini Audio Pt. 1: The Early Years

Danny Kaleikini Audio Pt. 2: Ambassador of Aloha

Danny Kaleikini Transcript Pt. 1: The Early Years

Danny Kaleikini Transcript Pt. 2: Ambassador of Aloha

 

 

Amy Kalili

Amy Kalili

Amy Kalili Audio

Amy Kalili Transcript

 

 

Kamae

Eddie and Myrna Kamae

Eddie and Myrna Kamae Audio

Eddie and Myrna Kamae Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Sam Kamaka Jr. and Fred Kamaka Sr.

Sam Kamaka Jr. and Fred Kamaka Sr.

Sam Kamaka Jr. and Fred Kamaka Sr. Audio

Sam Kamaka Jr. and Fred Kamaka Sr. Transcript

 

 

Shim Kanazawa

Shim Kanazawa*

*Audio not available

Shim Kanazawa Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Guest James Kauahikaua

James Kauahikaua*

 

James Kauahikaua* Transcript

 

 

Sabra Kauka

Sabra Kauka*

Sabra Kauka Audio

Sabra Kauka* Transcript

 

 

Kaulukukui

Thomas Kaulukukui Jr.

Thomas Kaulukukui Jr. Audio Pt. 1: Legacy of Public Service

Thomas Kaulukukui Jr. Audio Pt. 2: On Leadership

Thomas Kaulukukui Jr. Transcript Pt. 1: Legacy of Public Service

Thomas Kaulukukui Jr. Transcript Pt. 2: On Leadership

 

 

Kawakami

Barbara Kawakami

Barbara Kawakami Audio

Barbara Kawakami Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Guy Kawasaki

Guy Kawasaki

Guy Kawasaki Audio

Guy Kawasaki Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Sarah Keahi

Sarah Keahi

Sarah Keahi Audio

Sarah Keahi Transcript

 

 

Kealoha

Kealoha

Kealoha Audio

Kealoha Transcript

 

 

Keaulana

Brian Keaulana

*Audio not available

Brian Keaulana Transcript

 

 

Keller

Nora Okja Keller

Nora Okja Keller Audio

Nora Okja Keller Transcript

 

 

Kelsey

Quinn Kelsey

Quinn Kelsey Audio

Quinn Kelsey Transcript

 

 

Kim

Harry Kim

Harry Kim Audio

Harry Kim Transcript

 

 

Larry Lindsey Kimura

Larry Lindsey Kimura*

Larry Lindsey Kimura Audio

Larry Lindsey Kimura Transcript

 

 

King

Samuel P. King

Samuel P. King Audio

Samuel P. King Transcript

 

 

Knapp

Terence Knapp

Terence Knapp Audio

Terence Knapp Transcript

 

 

Victoria Kneubuhl

Victoria Kneubuhl

Victoria Kneubuhl Audio

Victoria Kneubuhl Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Nanci Kreidman

Nanci Kreidman

Nanci Kreidman Audio

Nanci Kreidman Transcript

 

 

Ku'uipo Kamakahi

Ku’uipo Kumukahi*

*Audio not available

Ku’uipo Kumukahi Transcript

 

 

Kurisu

Derek Kurisu

*Audio not available

Derek Kurisu Transcript

 

 

L

 

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Kitty Lagareta

Kitty Lagareta*

Kitty Lagareta Audio

Kitty Lagareta Transcript

 

 

Olin Lagon

Olin Lagon*

*Audio not available

Olin Lagon Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Jimmy Lee

Jimmy Lee

Jimmy Lee Audio

Jimmy Lee Transcript

 

 

Lee

Juliet Lee

Juliet Lee Audio

Juliet Lee Transcript

 

 

Lessons on Leadership

Lessons on Leadership Audio

Lessons on Leadership Transcript

 

 

Sam Low

Sam Low: A Hawaiian Yankee*

Sam Low: Raising Islands*

Sam Low Audio Pt. 1: A Hawaiian Yankee

Sam Low Audio Pt. 2: Raising Islands

Sam Low Transcript Pt. 1: A Hawaiian Yankee

Sam Low Transcript Pt. 2: Raising Islands

 

Patti Lyons

Patti Lyons

Patti Lyons Audio

Patti Lyons Transcript

 

 

M

 

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Makia Malo

Makia Malo Audio

Makia Malo Transcript

 

 

Kepa Maly*

*Audio not available

Kepa Maly Transcript Pt. 1: Lanai and the Spirit of Place

Kepa Maly Transcript Pt. 2: A Sense of Connection

 

 

Daniel Martinez

Daniel Martinez*

Daniel Martinez Audio

Daniel Martinez Transcript

 

 

Victor Marx*

Victor Marx Audio

Victor Marx Transcript

 

 

Coralie Matayoshi

Coralie Matayoshi*

Coralie Matayoshi Audio

Coralie Matayoshi Transcript

 

 

Colbert Matsumoto*

Colbert Matsumoto Audio

Colbert Matsumoto Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX Guest Kevin Matsunaga

Kevin Matsunaga*

Kevin Matsunaga Audio

Kevin Matsunaga Transcript

 

 

Linda Coble and Kirk Mathews

Kirk Matthews & Linda Coble*

*Audio not available

Kirk Matthews & Linda Coble Transcript

 

 

The Maunakea-Forths

The Maunakea-Forths Audio

The Maunakea-Forths Transcript

 

 

McKinney

Chris McKinney

Chris McKinney Audio

Chris McKinney Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Guest Glenn Medeiros

Glenn Medeiros*

Glenn Medeiros Audio

Glenn Medeiros Transcript

 

 

Peter Merriman

Peter Merriman*

Peter Merriman Audio

Peter Merriman Transcript

 

 

Merwin

W.S. Merwin

W.S. Merwin Audio

W.S. Merwin Transcript

 

 

Maile Meyer

Maile Meyer

Maile Meyer Audio

Maile Meyer Transcript

 

 

Marie Milks

Marie Milks Audio

Marie Milks Transcript

 

 

Tom Moffatt

Tom Moffatt*

Tom Moffatt Audio Pt. 1: The Making of a Showman

Tom Moffatt Audio Pt. 2: A Life of Entertainment

Tom Moffatt Transcript Pt. 1: The Making of a Showman

Tom Moffatt Transcript Pt. 2: A Life of Entertainment

 

Susan Moore

Susanna Moore*

*Audio not available

Susanna Moore Transcript

 

 

N

 

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Nahulu

Nola Nahulu

Nola Nahulu Audio

Nola Nahulu Transcript

 

 

Namba

Anne Namba

Anne Namba Audio

Anne Namba Transcript

 

 

Napoleon

Nanette Napoleon*

Nanette Napoleon Audio

Nanette Napoleon Transcript

 

 

Nishimoto

Warren Nishimoto*

*Audio not available

Warren Nishimoto Transcript

 

 

Puakea Nogelmeier

Puakea Nogelmeier Audio Pt. 1: Advocating and Promoting Hawaiian Language

Puakea Nogelmeier Audio Pt. 2: A Puakea Nogelmeier on the Hawaiian Language

Puakea Nogelmeier Transcript Pt. 1: Advocating and Promoting Hawaiian Language

Puakea Nogelmeier Transcript Pt. 2: Puakea Nogelmeier on the Hawaiian Language

 


Keone Nunes

Keone Nunes

Keone Nunes Audio

Keone Nunes Transcript

 

 

O

 

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P

 

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Frank Padgett

Frank Padgett

Frank Padgett Audio

Frank Padgett Transcript

 

 

Norbert Palea

Norbert Palea Audio

Norbert Palea Transcript

 

 

Parsons

Richard Parsons

Richard Parsons Audio

Richard Parsons Transcript

 

 

Paty

Bill Paty

Bill Paty Audio

Bill Paty Transcript

 

 

Payne

Catherine Payne

Catherine Payne Audio

Catherine Payne Transcript

 

 

Ginny Pressler

Dr. Ginny Pressler*

*Audio not available

Dr. Ginny Pressler Transcript

 

 

Sean Priester

Sean Priester

Sean Priester Audio

Sean Priester Transcript

 

 

Q

 

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R

 

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Karen Radius

Karen Radius Audio

Karen Radius Transcript

 

 

John Rampage

John Rampage

John Rampage Audio

John Rampage Transcript

 

 

Rapozo

Wayne Rapozo

*Audio not available

Wayne Rapozo Transcript

 

 

Rego

Neva Rego

Neva Rego Audio

Neva Rego Transcript

 

 

Keali’i Reichel

Keali’i Reichel Audio

Keali’i Reichel Transcript

 

 

Benny Rietveld

Benny Rietveld Audio

Benny Rietveld Transcript

 

 

Rice

Joe Rice*

Joe Rice Audio

Joe Rice Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Monty Richards

Monty Richards

Monty Richards Audio

Monty Richards Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Sarah Richards

Sarah Richards

Sarah Richards Audio

Sarah Richards Transcript

 

 

Richardson

William S. Richardson

William S. Richardson Audio

William S. Richardson Transcript

 

 

Henk Rogers

Henk Rogers

Henk Rogers Audio

Henk Rogers Transcript

 

 

 

Crystal Rose

Crystal Rose

Crystal Rose Audio

Crystal Rose Transcript

 

 

Skylark Rossetti

Skylark Rossetti Audio

Skylark Rossetti Transcript

 

 

S

 

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Marlene Sai

Marlene Sai Audio

Marlene Sai Transcript

 

 

Saiki

Pat Saiki

Pat Saiki Audio

Pat Saiki Transcript

 

 

Roy Sakuma

Roy Sakuma

Roy Sakuma Audio

Roy Sakuma Transcript

 

 

Sanga

Ty Sanga

Ty Sanga Audio

Ty Sanga Transcript

 

 

Scott

James Scott

James Scott Audio Pt. 1

James Scott Audio Pt. 2

James Scott Transcript Pt. 1

James Scott Transcript Pt. 2

 

Susan Scott

Susan Scott

Susan Scott Audio

Susan Scott Transcript

 

 

Bob Sevey

Bob Sevey

Bob Sevey Audio Pt. 1

Bob Sevey Audio Pt. 2

Bob Sevey Transcript Pt. 1

Bob Sevey Transcript Pt. 2

 

Hedda Sharapan

Hedda Sharapan*

*Audio not available

Hedda Sharapan Transcript

 

 

Pono Shim

Pono Shim*

Pono Shim Audio Pt. 1: Through a Child’s Eyes

Pono Shim Audio Pt. 2: ALOHA Moments

Pono Shim Transcript Pt. 1: Through a Child’s Eyes

Pono Shim Transcript Pt. 2: ALOHA Moments

 

Jake Shimabukuro

Jake Shimabukuro*

*Audio not available

Jake Shimabukuro Transcript

 

 

Ari Southiphong

Ari Southiphong (Andy South)*

*Audio not available

Ari Southiphong (Andy South) Transcript Pt. 1

Ari Southiphong (Andy South) Transcript Pt. 2

 

 

Arc

Sr. Joan of Arc Souza

Sr. Joan of Arc Souza Audio

Sr. Joan of Arc Souza Transcript

 

 

Souza

Mihana Souza

Mihana Souza Audio

Mihana Souza Transcript

 

 

Stacy Sproat-Beck

Stacy Sproat-Beck Audio

Stacy Sproat-Beck Transcript

 

 

Candy Suiso

Candy Suiso

Candy Suiso Audio

Candy Suiso Transcript

 

 

Aung San Suu Kyi*

*Audio not available

Aung San Suu Kyi Transcript

 

 

T

 

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Kelvin Taketa

Kelvin Taketa Audio

Kelvin Taketa Transcript

 

 

Ramsay Taum

Ramsay Taum

Ramsay Taum Audio

Ramsay Taum Transcript

 

 

Cha Thompson

Cha Thompson Audio

Cha Thompson Transcript

 

 

 

Nainoa Thompson

Nainoa Thompson*

Nainoa Thompson Audio

Nainoa Thompson Transcript

 

 

Tin Myaing Thein*

*Audio not available

Tin Myaing Thein Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Michael Titterton

Michael Titterton*

Michael Titterton Audio

Michael Titterton Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX, Monica Toguchi

Monica Toguchi

Monica Toguchi Audio

Monica Toguchi Transcript

 

 

Tseng

Rose Tseng

Rose Tseng Audio

Rose Tseng Transcript

 

 

Tseu

Lawrence Tseu

Lawrence Tseu Audio

Lawrence Tseu Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Harry Tsuchidana

Harry Tsuchidana*

Harry Tsuchidana Audio

Harry Tsuchidana Transcript

 

 

Leslie and Desmond Tutu

Archbishop Desmond Tutu*

*Audio not available

Archbishop Desmond Tutu Transcript

 

 

U

 

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Kent Untermann

Kent Untermann Audio

Kent Untermann Transcript

 

 

V

 

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Emma Veary

Emma Veary Audio Pt. 1: Hawaii’s Elegant Musical Treasure

Emma Veary Audio Pt. 2

Emma Veary Transcript: Hawaii’s Elegant Musical Treasure

 

 

 

Nick Vujicic

Nick Vujicic

Nick Vujicic Audio

Nick Vujicic Transcript

 

 

W

 

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Meli Watanuki

Meli Watanuki Audio

Meli Watanuki Transcript

 

 

LONG STORY SHORT - Kimi Werner: Shaped by the Sea

Kimi Werner: Shaped by the Sea

Kimi Werner: Shaped by the Sea Audio

Kimi Werner: Shaped by the Sea Transcript

 



LONG STORY SHORT WITH LESLIE WILCOX: Kimi Werner - Life in the Deep

Kimi Werner: Life in the Deep

Kimi Werner: Life in the Deep Audio

Kimi Werner: Life in the Deep Transcript

 

 

LONG STORY SHORT WITH LESLIE WILCOX: Betty White

Betty White

Betty White Audio

Betty White Transcript

 

 

Chipper and Hau’oli Wichman

Chipper and Hau’oli Wichman Audio

Chipper and Hau’oli Wichman Transcript

 

 

Leona Rocha Wilson

Leona Rocha Wilson Audio

Leona Rocha Wilson Transcript

 

 

Alvin Wong

Alvin Wong

Alvin Wong Audio

Alvin Wong Transcript

 

 

Wong Hadar

Jasper Wong and Kamea Hadar*

*Audio not available

Jasper Wong and Kamea Hadar Transcript

 

 

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Y

 

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Susan Yamada

Susan Yamada

Susan Yamada Audio

Susan Yamada Transcript

 

 

Takeshi “Tak” Yoshihara*

Takeshi “Tak” Yoshihara Audio Pt. 1: A Quiet Struggle

Takeshi “Tak” Yoshihara Audio Pt. 2: An Historic Journey

Takeshi “Tak” Yoshihara Transcript Pt. 1: A Quiet Struggle

Takeshi “Tak” Yoshihara Transcript Pt. 2: An Historic Journey

 

 

Z

 

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Zig Zane

Sig Zane

Sig Zane Audio

Sig Zane Transcript

 

 

 

 

 

NA MELE
Ukulele 2002: A Weekend with the Masters

Ukulele 2002: A Weekend with the Masters

 

Air date: Mon., July 20, 7:30 pm

 

This episode of NA MELE is a special 12th anniversary encore of an event recorded in 2002, featuring some of Hawai’i Music Institute’s teaching staff, including Melveen Leed, Byron Yasui, Brother Noland and Ku’uipo Kumukahi.

 

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