determination

VICTORIA ON MASTERPIECE
Young England

 

This seven-part dramatic series follows Victoria (Jenna Coleman) from the time she becomes Queen in 1837 at the age of 18 through her relationship with Lord Melbourne (Rufus Sewell), her first prime minister and intimate friend, and her courtship and marriage to Prince Albert (Tom Hughes).

 

Young England
On the verge of delivering her first child, Victoria spurns advice and ventures among her subjects, attracting the devoted and demented alike. Miss Skerrett and Francatelli reach their decisive moment.

 

VICTORIA ON MASTERPIECE
Engine of Change

VICTORIA ON MASTERPIECE: Engine of Change

 

This seven-part dramatic series follows Victoria (Jenna Coleman) from the time she becomes Queen in 1837 at the age of 18 through her relationship with Lord Melbourne (Rufus Sewell), her first prime minister and intimate friend, and her courtship and marriage to Prince Albert (Tom Hughes).

 

Engine of Change
With a child on the way, Victoria must choose a regent in case she dies during childbirth. The Tory party disputes her choice, but she and Albert turn the tables with the aid of the latest in 19th-century technology.

 

VICTORIA ON MASTERPIECE
The Queen’s Husband

VICTORIA ON MASTERPIECE: The Queens Husband

 

This seven-part dramatic series follows Victoria (Jenna Coleman) from the time she becomes Queen in 1837 at the age of 18 through her relationship with Lord Melbourne (Rufus Sewell), her first prime minister and intimate friend, and her courtship and marriage to Prince Albert (Tom Hughes).

 

The Queen’s Husband
At loose ends in a foreign land, Albert finds a noble cause. Victoria gets her way at court and resorts to a folk cure in the bedroom. Francatelli does Miss Skerrett a favor – for a price.

 

VICTORIA ON MASTERPIECE
An Ordinary Woman

 

This seven-part dramatic series follows Victoria (Jenna Coleman) from the time she becomes Queen in 1837 at the age of 18 through her relationship with Lord Melbourne (Rufus Sewell), her first prime minister and intimate friend, and her courtship and marriage to Prince Albert (Tom Hughes).

 

An Ordinary Woman
Courtship at court leads to second thoughts and other complications. Will Victoria and Albert take the fateful step into matrimony? And will the queen promise “to obey” her foreign prince?

 

LONG STORY SHORT WITH LESLIE WILCOX
Michael Titterton

 

Born into a struggling family in the east end of London, books and radio offered young Michael Titterton a glimpse into a different life. His insatiable curiosity led him to travel around the world, eventually landing him in Hawai‘i, where he took on the challenge of turning around a faltering Hawai‘i Public Radio. Under his leadership as President and General Manager, HPR has grown into the vital and trusted radio network it is today, serving the entire state. This month, Hawai‘i Arts Alliance will be recognizing Titterton as their 2016 Alfred Preis Honoree for his lifetime support of the arts.

 

This program will be rebroadcast on Wednesday, Feb. 1 at 11:00 pm and Sunday, Feb. 12 at 4:00 pm.

 

Michael Titterton Audio

 

Download the Transcript

 

Transcript

 

There are very few human behaviors that go back further than storytelling. It’s the quintessential social act. Any time we pass knowledge from generation to generation, you know, if we don’t have a written language or anything, which we haven’t for most of the history … and it’s how we bond. It’s a wonderful vehicle for healing, for illumination, for understanding, for being civilized. That’s what life is; it’s the stories we get to tell.

 

Michael Titterton has been in the business of storytelling most of his life. Yet, it’s only one of the many skills that he needed to transform Hawaii Public Radio from a small faltering station into a robust statewide network. Michael Titterton, distinguished 2016 Alfred Preiss Honoree, next, on Long Story Short.

 

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

 

Aloha mai kakou. I’m Leslie Wilcox. Michael Andrew Titterton moved to Hawai‘i in 1999 to take over as president and general manager of Hawaii Public Radio. Under his leadership, HPR expanded its reach as a vital community resource, broadcasting on every island, and serving the entire state. He stepped down in June of 2016. This conversation took place six months later, after he did some traveling with his wife, artist Madeleine McKay. Travel and moving on have always been Michael Titterton’s passion. In fact, his time in Hawaii was to be just another stop in his roaming life journey. But after ending seventeen years at Hawaii Public Radio, he’s still living happily in Honolulu. Michael Titterton started out life in postwar London. He’s restrained in that very English way, in the way he describes tough times.

 

At the time I was growing up, the part of the east end that I grew up in was the most populated, most densely populated urban area in the world, with the exception of Calcutta. I was born immediately after World War II. And the east end of London being industrial, was an area that was a focus of attention for the German air force during World War II and so, a great deal of bomb damage. Every block, you know, for as far as I can remember had houses that were missing or that were just walls. You know, earliest memories is walking around the block and looking at houses, and into rooms that had two walls left, and the other two walls were gone, so you could look in and see pictures still hanging on the wall, and wallpaper, and looking into people’s intimate lives. And it was a routine, very routine occurrence. Never thought it was odd.

 

Did you feel unsafe?

 

No, not at all. Not at all.

 

So, it was kind of a homogenous diverse neighborhood?

 

Not that diverse; it was mostly Irish.

 

And your family is, by background, Irish as well?

 

No; not at all. My father is English, my mother is Welsh. So, you know, yeah, we were outliers, I suppose. But it never really seemed that way. Life was sufficiently challenging that you didn’t give any thought to social standing, or any of that. It was later in life, I became acutely aware of it, and acutely aware that I was motivated to leave. I didn’t want to stay there. Once I became aware that everybody didn’t live this way, then I began to form the idea of a wall that I had to sort of scale and get over, and I tried all sorts of ways to do that.

 

Did you feel deprived of anything as you were growing up?

 

Only books. My my father was not an unintelligent man, but he was very uneducated and was quite defensive about that. And he wouldn’t have books in the house.

 

Oh … and you loved books?

 

Yes, perversely, as one does, you know, forbidden fruit.

 

[CHUCKLE]

 

And … yeah. I developed a relationship with the local library, and smuggled books into the house. And I’ve had a romance with books ever since. And that was how I found out, ultimately. That, and radio. That, and radio.

 

That’s how you found out that you were living a life that many people did not live.

 

Yes, yes, yes. It was my first glimpse over the wall. And it was an intoxicating one, and it’s one from which I’ve never sobered up, at all.

 

So, how did you scale that wall to get out of the east end?

 

Oh, well, I left school at fifteen, as everyone did. Moved out on my own. I did an apprenticeship as a tool and die maker. Factories, you know, was the thing. You went on the line, or you learned a trade.

 

Was it expected that that’s pretty much what you would do?

 

M-hm; that, or become a criminal, which was quite popular option. But that was the skill that I had early on, and I parlayed that into a little business which I ran for a while, making specialty parts for racing engines. Very long story; we don’t have time for that.

 

Because you love autos, too; right?

 

Well, it was an automobile environment. Dagenham was the principal factory area where I grew up. And that’s the Ford Motor Company. And it was all about automobiles, and you know, this was the 50s. And yeah, I have gasoline in my veins, I think.

 

So, you did build a business.

 

I built a little business. Just a very modest thing, but it was quite successful in a surprisingly short amount of time. But I had no judgement; I was very young.   And I took in a partner who brought in a little capital which I desperately needed. And he developed a romantic association with another one of the employees, and they disappeared to Australia with all the fluid assets of the company. And that got me quite vexed. [CHUCKLE] And actually exhausted the last of my patience, and I liquidated everything. Sold off machinery and whatnot to make payroll, couple other people working for me. And I was reduced to a minivan and a couple of sleeping bags, and I took off to Europe. I just wanted to be anywhere other than England at that point. I was just really quite over it.

 

Without much more than the clothes on his back, Michael Titterton left home. He had no plan, other than to see the world. Now, he didn’t have to mention to us his stint in a foreign jail over an incident involving the concentrated form of marijuana, known as hashish, but he did. Because that’s part of his story, and he is a storyteller.

 

I just took the ferry across to France, to Callet. And spent little over two years, I think, going from place to place. North Africa, Middle East, and Europe, Western Europe, doing odd jobs.

 

What were some of your odd jobs?

 

Oh, working in garages. I could always pick that up. A a job in Marseilles for a while, cleaning boats, you know. I had a job on a trawler in the North Sea, and some disgusting adventures.

 

[CHUCKLE]

 

That you don’t want to hear about. Just things like that. And then, every now and again, I’d go back to Dagenham and I’d get a job on the line at the Ford Motor Company.

 

And essentially, you were always making a living with your hands.

 

Oh, yeah; yeah, absolutely. Absolutely.

 

And what did you aspire to? Were you happy with that? Were you …

 

I was thoroughly occupied with that. It was wonderful. I was getting to see the world, or at least a part of it. And I remember a moment when I was still an apprentice toolmaker, and we’d clock in, you know. And the clock was at this counter outside where you could see up. And I was coming in for a night shift, and I looked up and I saw the moon. You know, regular old moon. But I had this moment when it occurred to me that this moon could be seen just like this by people who weren’t in Dagenham, but were all over the world. And they must have thoughts just like that. And I knew I wanted to meet some of them. I couldn’t meet all of them, but I’d like to meet some of them. And that we had this experience in common. And that moment has just always haunted me. I think that might have been a propellant. But I’ve always had this real need. It is a need to travel, and see different things. And I’ve been fortunate enough to be able to gratify it in all sorts of ways, some more comfortable than others.

 

Well, when you approach a new city, or a new region, how do you decide you’re going to see it? There are so many vantage points.

 

Well, in those days, it was simply a matter of how am in gonna manage breakfast, and how am I gonna make the money to, you know, buy the next tank of gas. Or after a while, actually, I sold the van, and so, it was, you know, little more survival oriented even than that. So, it was how do I get by, especially when you don’t speak the language anywhere.

 

Were you all on your own?

 

M-hm; for most of the time. I mean, I had the occasional traveling companion. But no, pretty much on my own.

 

So, you were just living day-to-day.

 

Absolutely; yeah, moment-to-moment, really.

 

That’s a great formative—

 

It was the best time of my life.

 

Was it? Even though you must have been anxious, too.

 

I was anxious, I was uncomfortable, I was wet. A lot of the time it was too hot, a lot of the time I had rocks in my shoes. I mean, it was horrible by any rational measure, but it was a joyful, wonderful time.

 

Because everything was new?

 

Yes; yes. And there was no safety net, but at the same time, there were no barriers.

 

Did you ever fall into a hole that you thought you couldn’t get out of?

 

Oh, yes. It happened in Morocco, and it went on for about three months. And I really didn’t think I was gonna get out of that one, but ultimately did. It had to do with a camel saddle that I had, I thought, quite skillfully repackaged. Took the stuffing—you know what a camel saddle is; yeah?

 

What is it?

 

What is it? Well, [CHUCKLE] I’m not sure I’ll ever go near a camel. But it’s shaped like a saddle on the camel, and it has a cushion on the top, and it’s used as a piece of furniture. And tourists like to take them home and call them camel saddles. So, I replaced the stuffing in the top of this camel saddle with a quantity of very pure white hashish. You’ve heard of hashish?

 

Yes, yes.

 

Yeah. And attempted to mail it back to myself in London, and enlisted the help of a young man to do this. And he agreed, ‘cause you know, you can get anybody to do anything in Morocco. And he took it into a post office with this. And I thought that would be the sensible thing for me to do. And he did, and he disappeared. Oh, he didn’t disappear, he just didn’t come back for a long time. And I got curious and a little antsy after a while, and I poked my head in the door and this was another moment that I shan’t forget, the tableaux, this young is standing up against a counter. And as I poked my head in, I see him and the camel saddle, which has been ripped apart. And there’s two or three officials behind the counter there, and the child is in the process of turning around, you know. [INDISTINCT]. And you know, That’s the man. And that was that, really. I was the center of attention for a little while. And three months later, I find myself hitchhiking away from Tangier.

 

It sounds like you were lucky to get off with three months.

 

Oh, yes. I had one visitor, the young man that I’d been rooming with. And he sold my van and he got for me a lawyer, or at least some sort of representation. And I’m sure a portion of the money went to the legal representation, and another portion went to whatever happens to money that flies around in Tangier at that time. And to my immense surprise, I was in a room with uh, with a number of other people. Suddenly, I had a visit from the attorney type, and I had no confidence in this at all, but a week or two later, I was summoned into a court, with no preparation, no fanfare at all. The proceedings went on that I didn’t understand a word of, and within half an hour so, I found myself back on the street. And that was that.

 

You could have been left there a long time, and …

 

It was the one point at which I’ve ever considered suicide as a rational alternative. And in that sense, it’s been extremely useful. Because, you know, life has had its bumps, as life does, but it’s a wonderful thing to know, or at least believe that you know what your limits are, how bad things really have to get.

 

You could have ended up locked up and wasted away.

 

I could have. Yeah.

 

Wow.

 

Instead of in management.

 

Michael Titterton next went to Greece, where he met a young American woman who traveled with him to Israel, where they both worked in a kibbutz. She returned to the United States to attend college, and he later followed.

 

So, love brought you to America.

 

Yeah; yeah, pretty much. Well, I knew I wanted to come to America anyway, ‘cause I just hadn’t been there yet. But yeah, it was very romantic. And this young lady hitchhiked out from Oregon and met me in New York, and we spent a little while there, and I bought a car from a junkyard in New Jersey for, I think, ninety dollars; 1962 Tempest.

 

But you could fix it.

 

Yes, I could. Yes; I’m a very capable fellow. And fixed this thing up, and we drove it back to Ann Arbor, which was where her family was. I worked at odd jobs in Ann Arbor for a little while, and then got convinced that I really needed to investigate higher education. So, that’s what I did. And it was a little dodgy, because I hadn’t finished high school in any technical sense, but found that I could go to school in Canada, which wasn’t far away.

 

I notice you got your master’s degree in public speaking and rhetoric.

 

Rhetoric; yes.

 

Why did you choose that?

 

Bear in mind, this is the very, very early 70s. It’s 1971, actually, and coming into ’72. And I knew the US was … I mean, this was … social mobility was here, and that’s what I was really after. I didn’t know it at that time, ‘cause I didn’t know the words. But social mobility, and meritocracy. You know, if you work hard, you can get places. And it’s really what everybody dreams about, when they dream about America when they’re not from here. If I was going to understand this place, the quickest way to do it might be to study the media, because that seemed to be the bottleneck through which everything passed. And it was a very busy bottleneck at that point. Watergate, for example, Vietnam War, all the unrest on college campuses. Glorious time. And all of it was being fed through a media, which was under suspicion, as much of it is now. And so, I specialized in that. Wayne State had a particularly strong rhetoric department, and that was where I found myself, with a lot of wonderfully eccentric people.

 

And you’d already had experienced storytelling, because you had stories to tell along the way.

 

Well, everybody does. Yeah. But I did. Just because of the basic courses that I had to then take as part of being in the rhetoric program, I began to learn something about the mechanics of storytelling, if you like, the idea of a narrative. And I was very quickly drafted into teaching public speaking. So yeah, I hadn’t really thought about it, actually, as being part of the whole storytelling business, but I seem to keep coming back to that. But that’s what it is. That’s what life is, it’s the stories we get to tell.

 

And sometimes, you do things without having a name for it; right? And then, you find out—

 

Oh, yes; most of the time, actually.

 

Your real self keeps popping up in the form of what you do.

 

[CHUCKLE] Yes; that is true. That is true. But storytelling, I guess that’s a lot of the attraction that I have, or that radio has for me, because it’s a storytelling medium, and storytelling is … there are few human behaviors that go back further than storytelling. It’s the quintessential social act. It’s a wonderful vehicle for healing, for illumination, for understanding, for being civilized.

 

And radio has that intimate quality.

 

Mm. It’s a one-to-one medium, and it’s frighteningly intimate. And the best of radio is indistinguishable from pillow talk. It’s that intimate. And that’s what I love about it. I mean, what’s not to love?

 

Michael Titterton started his career in radio by volunteering at his campus radio station, which he helped to become one of the first national public radio stations. From this valuable experience, he went on to spend the next twenty years building, managing, and consulting for public radio stations across the United States. He was thinking of moving on to a new career, when an unexpected opportunity arose.

 

Hawaii advertised this job at Public Radio for someone to take a very troubled station and make something of it, and you said, That’s for me. [CHUCKLE]

 

Oh; yes. And actually, it was funny the way it came about. Because I’d been consulting for a couple years, going around fixing broken stations. And that was great fun. But I’d reached a point where I thought, this Public Radio thing has been wonderful. And it really has. I mean, I’ve never regretted a moment I’ve spent with it. But I’ve done everything I really want to do. You know, I’ve been an operations manager, I’ve been a reporter, I’ve been a producer, I’ve been, you know, pretty much every position, and I’ve been building stations and running them. Time for me to go back to Europe now and reinvent myself again, and see what happens next. And I was in the process of doing that. I had my house on the market. I was winding up all my little business things. I hadn’t known about the situation in Hawaii, and I had three phone calls in the space of a few days from different people that I knew. And essentially, the message was, If you like broken stations, have I got a broken station for you. Anyway, I wrote to the folks here. In all honesty, I thought, you know, this will be one more fix-it job, and then—you know. But I came out and met with the board, and they were all very interesting people. They were clearly all agents of change. That’s why they were doing what they were doing and were so committed to it. There was a real will, there was a real spirit about the organization, [INDISTINCT]. It just felt right. And we reached an agreement, and I came out and went with them.

 

There was a real will, there was a real spirit about the organization, [INDISTINCT]. It just felt right. And we reached an agreement, and I came out and went with them. Uh, as I say, Honolulu was a big surprise. I—uh, you know, you have this idea of a tropical paradise, and Honolulu is anything but. You know, it’s a—it’s an intense, very densely populated city with a lot of uh, um … issues of its own. Uh, it’s uh, multiethnic beyond imagination. It’s uh, like all those planets that shows up in Star Wars Trilogy, you know. Um, everybody’s from somewhere else. And HPR was that way. I—when I met uh, the crew, everyone was from somewhere else. It was like taking over the Enterprise. You know, there were people from different planets. Um … and, yeah, grateful, jump in, and uh …

 

How did you get it to rise, when it was definitely in the hole in the ground?

 

[CHUCKLE] I think probably the … the lever that had the most benefit to it was the one of taking on the challenge of convincing a community that had begun to really give up on this. You know, this is a good idea, but it’s just not gonna happen. And convince them that it was a success. That it was a success. Not that it could be a success, but that it was a success. And in that first year, we did three fundraisers, and we’ve been doing two a year ever since.

 

And were you on the desk for HPR? You were handling the pledge interviews and appeals?

 

Oh, sure. Oh, yeah.

 

Okay.

 

Yeah, yeah; yeah. I’ve always enjoyed pledge drives. I get a lot of credit for being a fundraiser. I’m really not, but I love this business, and the pledge drives are a means to an end. You’ve got to have the money. The money is a means to an end. It’s not about the money itself. And I believe in the thing sufficiently, that getting on air and begging and pleading doesn’t bother me that much, because I believe in what we’re raising it for. And it was successful, and it seemed to turn around the consciousness somehow. And if people believe you are a success, then they’re gonna get behind you.

 

And there was always another problem after the one you solved; right? Because you were facing a situation that was layered, upon layered, upon layered with, you know, obstacles, which is exactly what brought you here.

 

Well, [CHUCKLE] yeah. I mean, I just thought it was gonna be, you know, another quick gig in this exotic circumstance. But then, you know, the idea got hatched of, Well, we seemed to have stabilized this, now there are a number of things technically wrong with the thing. You know, the old KIPO transmitter, and the fact that we weren’t heard in a great part of Oahu, much less the rest of the State. And we built the station in Hilo just because we happened to have a license that was about to expire. We were very motivated to build that station, which we did. And that got us to the point where, Well, you know—

 

Let’s go statewide.

 

Let’s go statewide; we’re Hawaii Public Radio, after all, and let’s try and make it so. And that was the narrative for the next two years.

 

Do you reach farther than for-profit radio stations with your broadcast signal?

 

Oh, absolutely; yeah. Yeah, we’re the only radio station with statewide reach. Yeah; absolutely. I’m proud of what we’ve accomplished here in Hawaii with the industry that I love so much. I like to think that Hawaii is an even better place now, than it was before we developed our Public Radio the way it is. It’s grown up now, it can stand on its own however many feet it has.

 

Hawaii Public Radio has received national recognition as a nonprofit organization for its achievements in news programming, fundraising, and fiscal responsibility. Michael Titterton, now HPR’s former president and general manager, was awarded the 2016 Alfred Preiss Honor by the Hawaii Arts Alliance for his lifetime support of the arts and community building. Mahalo to Michael Titterton of Makiki, Honolulu, for putting his skills and service to work for our community, and for delightfully sharing some of his many stories with us. And thank 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.

 

Looking back at how much physical ground you’ve traveled, and then of course, how much emotional and social ground you’ve traveled, you’ve had a chance to reflect a little bit on your life, and how you were gonna be a tool die guy.

 

Yeah.

 

And then, with a business, and all of a sudden, you’re getting a master’s degree and getting into public media, and being a turnaround expert.

 

Well, yeah. I never expected any of it. In terms of reflection, I’m still coming to terms with all of that. I feel enormously grateful. I mean, I don’t want to be too sloppy about it, but not everybody has the breaks that I’ve had. And I’ve been fortunate. I used to think it was a rotten break, but I was fortunate enough not to be born wealthy. Life is good; life is good. It’s been a fascinating journey, and it doesn’t seem to be quite done yet.

 

[END]

 


VICTORIA ON MASTERPIECE
The Clockwork Prince

 

This seven-part dramatic series follows Victoria (Jenna Coleman) from the time she becomes Queen in 1837 at the age of 18 through her relationship with Lord Melbourne (Rufus Sewell), her first prime minister and intimate friend, and her courtship and marriage to Prince Albert (Tom Hughes).

 

The Clockwork Prince
Albert pays a visit against the queen’s wishes and meets royal disdain. Where could it possibly lead? Meanwhile, the mystery of Miss Skerrett’s past deepens.

 

VICTORIA ON MASTERPIECE
Brocket Hall

 

This seven-part dramatic series follows Victoria (Jenna Coleman) from the time she becomes Queen in 1837 at the age of 18 through her relationship with Lord Melbourne (Rufus Sewell), her first prime minister and intimate friend, and her courtship and marriage to Prince Albert (Tom Hughes).

 

Brocket Hall
Facing rioters and suitors, Victoria grows into her royal role. As she ponders marriage, her friendship with Lord Melbourne grows more complex.

 

VICTORIA ON MASTERPIECE
Doll 123

 

This seven-part dramatic series follows Victoria (Jenna Coleman) from the time she becomes Queen in 1837 at the age of 18 through her relationship with Lord Melbourne (Rufus Sewell), her first prime minister and intimate friend, and her courtship and marriage to Prince Albert (Tom Hughes).

 

Doll 123
As a new queen, the young Victoria struggles to take charge amid plots to manipulate her. Her friendship with the prime minister leads to a crisis in Parliament.

 

LONG STORY SHORT WITH LESLIE WILCOX
Jeannette Paulson Hereniko

 

Jeannette Paulson Hereniko has always known the power of storytelling. During a troubled childhood, stories functioned as a source of comfort. In adulthood, she founded the Hawai‘i International Film Festival. Throughout her multifaceted life, Jeannette has blazed her own trail, working with unwavering vision and passion.

 

This program will be rebroadcast on Wednesday, January 11 at 11:00 pm and Sunday, January 15 at 4:00 pm.

 

Jeannette Paulson Hereniko Audio

 

Download the Transcript

 

Transcript

 

I used to go to high school crying, with a hand on my hand, where my mother had slapped me. That was me, going to school crying. And on Mother’s Day, wondering what they’re talking about. But I knew in my heart of hearts—and a lot of it was my faith, my Congregational church believing that something else was waiting for me, and I could do it.

 

Jeannette Paulson Hereniko first took comfort in storytelling to escape her abusive mother. She continued to tell stories in different mediums, and in her role as founding director of the Hawaii International Film Festival. Jeannette Paulson Hereniko, next, on Long Story Short.

 

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

 

Aloha mai kakou. I’m Leslie Wilcox. Jeannette Paulson Hereniko has spent her entire life sharing and telling stories. Whether it be through children’s storytelling, television, stage plays, or film, Hereniko has always known the power of storytelling. Hereniko is best known in Hawaiʻi as the founding director of the Hawaii International Film Festival, which has become one of the premier film festivals for showcasing Asian and Pacific films. She’s also gone on to be a filmmaker in her own right, producing the award-winning film, The Land Has Eyes, with her second husband, Vilsoni Hereniko. Jeannette says her childhood years were the hardest days of her life, but they also helped her develop her love of storytelling.

 

I consider myself an Oregonian because those first nineteen years of my life were very influential. The people there were independent people. They vote a lot; they vote on everything in Oregon. You really had to think. And I like that; I love politics. My father was a fireman, and a labor organizer for public employees. So, I was kind of, on his side, anyway, kind of political at an early age, and very interested in changing society and making it a better place. My mother, now I know, looking back, was mentally ill. But at the time, I didn’t know it. And it was a very, very difficult childhood. It was not a happy family.

 

How did you realize later that she was mentally ill?

 

I was emotionally and physically abused. You know, I was hit around, and told I was terrible and an awful person. And I really believed it.  I escaped a lot, and I escaped in stories, I escaped in making up my own fantasies about life. And I was determined not to live a life like I was brought up. And I think that gave me enormous drive. And like, when I was ten, I had my own radio show.

 

Ten?

 

On what radio channel?

 

On Public Radio.

 

On Public Radio?

 

In Portland.

 

What did you do at ten as a host?

 

It was called Tots and Teens, and I was a storyteller. And I told stories that I wrote, and I had my sister come and imitate animals to the stories.

 

I had my girlfriend play the piano. I’d give little reports on the news.

 

What gave you the confidence to do that?

 

Well, that’s kinda what I’m saying. Because my family was so screwy, I just kind of thought this other life at a very, very early age. I was giving children’s sermons in my church. I found people liked that, and I got a lot of feedback that was positive, which I didn’t get in my family.

 

You said your dad gave you inspiration for public affairs.

 

Right.

 

What was his role in the household?

 

Gone and apathetic, and leave it to Mom to do the work. And not terribly supportive. But never mind; he had that fireman outfit, and he came to my school on Fire Prevention Week, and told us the number to call if our house ever caught on fire. And I had a sign when he ran for city council up in my bedroom posted. So, he still inspired me, in spite of being kind of an absent, apathetic father.

 

Were there other children in the house?

 

There was my sister. And part of my mother’s illness really was to pit us against each other. So, we never did become close. And my sister died at an early age, in her forties, and that’s a huge regret that I never was able to be close to her. But on the saving side of all the family stuff, I had an incredible, strong grandmother on my mother’s side. And she was from Russia. She was Volga German; she migrated when the Communists came in and took over. They didn’t want any Volga Germans. They didn’t want any Jews, they didn’t want any Volga Germans, didn’t want any gays. And so, those people left, if they could. And my grandmother ran away from her family home at eighteen, and somehow made it to Ellis Island, and somehow made it to Seaside, Oregon. And in between, fell in love with another Volga German, Jacob Bartholoma. And uh, they bought cottages, little cottages to rent. That’s where my solace was. That’s where I spent my summers. My grandmother was a storyteller; she told me all the stories about Russia and German, and she cooked and she loved me. And so, it was in Seaside, Oregon that I really felt nurtured.

 

While still living in Oregon, Jeannette Paulson Hereniko struggled to make ends meet to put herself through college. At age nineteen, she felt there weren’t many career options open to her, so she quickly set her sights on marriage.

 

So, I worked two jobs, and I went to school. And I thought, what I’d really like to be, you know, is maybe a lawyer, but I can’t be a lawyer, there’s no women lawyers, and there weren’t any women going to law school. So, I’ll marry a lawyer. I was very self-determined, so I went to Willamette University to the law school, and stood down at the bottom of the steps and watched the guys come down the steps.  And one of them said to me, Hi, stranger. And I remembered he had been a guard at a booth where I was a hostess during the Oregon bicentennial. And three months later, we were married. How’s that for a story?

 

You were consciously looking for a husband?

 

I was consciously looking for a husband who was an attorney. Yeah.

 

Wow.

 

Uh-huh.

 

But the marriage was not successful.

 

It was not successful, because we were so entirely different. He was a conservative Baptist Republican, and I was liberal Congregationalist Democrat.  But you know, there were good years. There were good years.

 

You had children together.

 

We had three beautiful, wonderful children. And we came to Hawaii together, you know, and I learned a lot about business from him. I learned a lot about law from him. And I really was close to his family. It was kind of a substitute family, and they were wonderful. So, not all black and dark.

 

What was it like breaking into Hawaii, when you didn’t know anybody, and probably didn’t have jobs either?

 

So, we moved May 20th. So, May 23rd was my birthday, and I wanted to go to this place called The Sty in Niu Valley.

 

I’ve heard of the Sty.

 

I remember that, in Niu Valley. And we walked into The Sty, and I heard the Sons of Hawaiʻi play.

 

M-hm.

 

And I started bursting into tears; I cried and cried, ‘cause the music just—it was Eddie’s voice. There was something very deep.

 

Eddie Kamae.

 

There was something in his voice so channeling something that touched everything inside my soul, with such storytelling like I’d never heard before. And I just knew this is where I wanted to live forever.

 

Before relocating to Hawaiʻi in 1975, Jeannette Paulson Hereniko worked as a professional children’s storyteller in Oregon. She even started a storytelling guild and children’s festival in Southern Oregon, and hoped to continue telling stories when she reached Hawaii.

 

Ray Okamoto was his name, and he was in charge of the Artists In Schools Program with the Department of Education. And before I came, he said, We’d like you to be a storyteller with the Artists In Schools Program in Hawaiʻi. So, I did. But it was part-time, and I needed to work a little more, ‘cause my husband was having a difficult time getting a job, even though he was an attorney, just breaking in. But I actually was having a great time. I was going around Waimanalo telling stories and everything. But I needed a little more money, ‘cause we had these three kids and everything. So, I went to educational television.

 

And that’s the DOE television.

 

That’s right.

 

Right.

 

That’s right. Anyway, they hired me as a production assistant, and I worked my way up as a producer and a writer. But I didn’t have a college degree. But it was that switch from storytelling, because when I was going around telling stories, there were all these incredible Hawaiians, kupuna. They knew the story, they knew the stories of the aina, and they knew the stories of the history. And that’s the kind of stories I love to tell. And I thought, it’s like picking flowers in someone else’s garden, this isn’t right for me to be doing this. But film, that’s another way. That’s another way to tell stories. And so, I quit being the storyteller in the schools, and devoted my time to educational television. But still, as an independent contractor, ‘cause I didn’t have a degree.

 

Jeannette Paulson Hereniko would go on to earn a college degree from Chaminade University in Honolulu. In 1980, she started a new job in public relations at the East West Center, an educational and research institution on the campus of the University of Hawaiʻi at Mānoa. Her new job would soon lead her to the creation of Hawaiʻi’s premier cinematic event, the Hawaii International Film Festival.

 

Where I really wanted to work was the East West Center. And people would say, Well, why? And I said, ‘Cause I’m really interested in cross-cultural relations, and I’m really interested in bringing people together from Asia and the Pacific and the United States. Where do we meet, and where do we differ, and how do we negotiate those different. That’s always been a real strong interest in those questions. So, when they had an opening in the public relations department for a community relations director, I applied, and I was hired by Everett Kleinjans, who was the president at the time. And he directed me to think of three ideas that would bring the community closer together to the East West Center. And one of the ideas, why don’t we create a film festival, and why don’t we put the emphasis on Asia and Pacific films, made by Asians and Pacific Islanders, and have some from America. And why don’t we have an academic symposium where we talk about the difference and the similarities, and why don’t we have it free, and why don’t we take it to the neighbor islands, and why don’t we take tours all around and show these films with scholars, you know, and talk about these issues. He said, Oh, I just love that idea. You go for it. Of course, I’m not giving you any money, you have no budget, so you go raise the money. And I said, Fine, I like to raise money.

 

You like to raise money?

 

I do like to raise money.

 

You like to ask people for money?

 

Because here’s what I believe, and you know this. You bring people who have money, and a cause that they want, and they’re waiting for you, because they want to meet the artists, they want to be part of a bigger vision. I really believe that. And so, I like to put people together, I like to do that. So, I thought, I’ve got to have Jack Lord be for this, ‘cause he’s got money and he’s got a name. But I didn’t know him. So, I talked to Cobey Black, and she introduced me to him, and we just hit it off famously. And he wrote a check; five-oh-oh-oh, you know. First check we got. And then, we gotta have theaters, so who owns the theaters. The person in town was Art Gordon. Do you know Art?

 

Remember him.

 

One of the most wonderful men I’ve ever met in my life. And I went to him and explained this idea, that we had this theme of when strangers meet, and we wanted to have Asian films. And he said, You know what, it’s free, and you’re gonna have Asian films. And he loved Asian films, particularly Japanese films, which he’d shown a lot. He says, I’m giving you the Varsity Theater. So, that’s how we got it started, until six months in, a new president come to the Center. He didn’t like the idea of a film festival, at all, and asked me to stop.

 

This must be Victor Li.

 

Yeah; it was Victor Li, Victor Hao Li. But he really did not believe that the East West Center, with the mission as he saw it, included anything to do with film.

 

I see.

 

And he didn’t think anybody in public relations should be creating program, that that should be left to the scholars. So, it was legitimate policy differences. But, you know, it affected my life, ‘cause he told me to stop. And I said, You know what, it’s too late, ‘cause the tickets have been given out. So, he says, Well, just the first one, then. But the first one, the papers called. Maybe you called; I don’t know. Where were you? And there were lines around the block, and people were loving the festival. And he called me in the office and presented me with flowers. He said, You did it, this is great. But it’s gotta be small, it’s gotta be academic, and yeah, just keep it controlled, and you gotta raise all your money outside.

 

You didn’t keep it small and controlled, Jeannette.

 

Well, maybe that was my fault, you know. And maybe because of my background, I was used to people kind of on my back and telling me, No, no, no, you can’t do it. Maybe that’s why I did it.

 

Under the leadership of Jeannette Paulson Hereniko, and with an army of volunteers, the Hawaii International Film Festival grew, and eventually became an independent nonprofit organization, splitting off from the East West Center. Jeannette went through a divorce from her first husband, and tried to find balance in her new role as the festival director, single woman, and mother raising three children.

 

When one has an abusive parent … unfortunately, that that sometimes shows up in their own parenting. How was parenting for you?

 

Great question. You know, again, you have to ask my children. And I still ask them. And it drives them crazy. They say, Oh, Mom, stop asking that. I had three, and one of them was extremely difficult, and she is no longer with us. And you know, maybe there’s a gene there; I don’t know. It was kind of almost like reliving my mother’s story through my daughter. Except my daughter was much more bright and loving, and a wonderful parent herself. But the other two say that I was okay, but I know in reality that I was gone too much, with throwing myself into the film festival, as almost sort of an escape thing. And I regret that; I wish I’d spent more time with them. But they keep assuring me that I was a good mom, so I hope they’re right. And they turned out great.

 

Jeannette Paulson Hereniko poured her passion into growing the Hawaii International Film Festival. After living as a single independent woman for over a decade, Jeannette says she has the Film Festival to thank for introducing her to the man who would become her second husband and soulmate.

 

We wanted scholars on our jury, and we wanted people from different Asia and Pacific places. And I didn’t have a lot of Pacific Islanders that knew a lot about film, so I asked my friend Jean Charlot, who was on the film selection committee with us, Where can I find a Pacific Islander? And he says, Well, you know, there’s this student that’s getting his PhD from Fiji, and he’s at the East West Center, and he’s smart, he’s written books, he’s written all kinds of plays; he’d be great on your jury. He didn’t actually say student; he just said this person. So, I thought that he was gonna be an old man after I read his resume. And so we had the jury. And he walked in and I thought, Oh, my, that’s an old man.

 

He was younger than you were; right?

 

Yeah. He was pretty cute, too. But he was married, so I left my hands off of him. But I made him my friend and put him on my film selection committee; okay? So, when he got divorced, I decided I would fix him up with some of my young girlfriends. Then, he finally said to me, I’d like to take you to dinner. And I thought, This is really strange. I mean, we’ve had lunch, we’d gone to meetings, but why would he want to take me to dinner? Oh, he wants to announce that he’s gonna marry this woman I’d fixed up. So, we went out to dinner and he says, Before I open this bottle of wine, I want to tell you that I’ve been in love with you for two years, but you’ve been so busy with the film festival. I’m imitating him.

 

And you haven’t even noticed. And I thought, Oh, my gosh. So, I said to him—he’s a Pacific Islander, and I’m Caucasian. Okay, I can get over that, but I’m much older than you are. And he said to me, I have been in love with women younger than me. Where does it say I can’t be in love with someone older than me? I have learned in love, age and race make no difference. Do you think you can do the same? And I thought, Here I am running this film festival, When Strangers Meet, and I haven’t dared to think like that. So, I said, Let’s give it a try. And that man’s name is Vilsoni Hereniko. And a year and a half after that dinner, we were married, and we’ve been married nineteen years.

 

And you have very similar interests.

 

Oh, yeah; we’re both storytellers. My my kids say, You finally found someone as crazy as you, Mom.

 

You know, we’re storytellers, we’re filmmakers. He’s written plays, I’m starting to write plays now.

 

In 1996, Jeannette Paulson Hereniko decided to walk away from the Hawaii International Film Festival, the organization that she created and to which she gave so much of her personal life.

 

And why did you choose to quit the film festival?

 

That’s the object of my first show called Wild Wisdom. And it was because my mother, who I’ve talked about quite a bit in the show got early Alzheimer’s. ‘Cause it ended that there was a gene from the Volga Germans that my family had, and fifty percent of those people, meaning me, Volga Germans, get early Alzheimer’s. I saw it on CNN News one night, and I realized my mother, my grandfather, my sister, and three of my cousins had all died of early Alzheimer’s. And I thought, What if I have that gene? So, I called the Alzheimer’s Association, and they didn’t know, there was no way to test. I thought, Man, I’ve just been giving my whole life to the film festival, a single woman, I don’t even know if I like apples and oranges. I’m quitting, and I’m gonna go around the world, and I’m just gonna enjoy my life, because I might lose my mind. Who knows? And that’s why I quit the film festival. But people didn’t know that at the time. So, I’ve been doing that; it was 1981 to ’96. So, that was long enough. Fifteen years. So, they did find out about a test, and I did take the test, and I don’t have that gene. I wouldn’t marry Vili until I knew that. And he told me; he said to me when we went in to get the results of that test, he said, I don’t care if you have it or not, I still want to marry you.

 

In the year 2000, Jeannette Paulson Hereniko stepped out of her comfort zone as someone who shares and promotes films to someone who creates films. She and her new husband, Vilsoni Hereniko, set out to make their first feature film, The Land Has Eyes, filmed on her spouse’s tiny home island of Rotuma, Fiji.

 

Yeah, we decided to make a feature film together. And he had a film in mind, a script in mind. And we took it to Buddhadev Das Gupta from Calcutta, who was on the jury the same year Vili was on, and a very, very dear friend. And he said, You can’t make that film; your first feature film must be your own life. You have to go fishing deep inside and write your own life story. That’s your first feature film. And Vili took that advice literally, and he threw that away, and he started writing his own life. And then, he got writer’s block, ‘cause it was getting very personal. And I said, Change it to a girl. So, Vili became Viki. And we made The Land Has Eyes. We were on the Island of Rotuma for three months to make it.

 

And you didn’t have a big budget, and you had villagers playing roles.

 

Yeah; it was wonderful.

 

And it was just very courageous.

 

Thank you.

 

It was a gamble; right?

 

Yeah.

 

And it’s a beautiful movie.

 

Oh, thank you. Yeah. Well, it was probably the uh, deepest experience. And talk about shattering illusions. That takes the cake; that did it. Because being married to him, and seeing him in Honolulu, and then to go back to his island, which I had not been to, where he’s the director and I’m the producer, and living in his family’s home. Yeah; it was the most challenging and the most rewarding experience of my life.

 

You know, I look at my life from where I am now, and I am so satisfied. I’m so happy with my life. I don’t think I’ve ever been happier. And one reason is, a lot of my dreams have been realized. And I’m still dreaming, and I’m still realizing more dreams.

 

You’re still working; right?

 

I’m still working. But I just wanted to say that the secret has been what Joseph Campbell said. And that’s, follow your bliss, follow your passion. I really honestly believe that each one of us has been born with a very special, unique gift, and it’s our job in our lifetime to find out what that gift is, and to shine it as bright as we can, to treat it like a precious diamond. And you don’t have to do everything. Like, you know, I can’t sew, I can’t can fruits like so many of my Oregon friends can. But I can tell stories, and I know how to make a movie, and I know how to get things done, and I really love involving other people in projects. That’s my little diamond. We each have that diamond, and you’ve gotta find it and shine it, and give it away.

 

The film, The Land Has Eyes, produced by Jeannette Paulson Hereniko and directed by her husband Vilsoni Hereniko, debuted at Robert Redford’s prestigious Sundance Film Festival in 2004, and went on to win Best Film at the Wairoa Maori Film Festival. At the time of this conversation in 2016, Jeannette had been out of the Film Festival spotlight for some years, but she continues to curate and distribute Asian and Pacific films to universities and libraries through a film distribution company called Alexander Street Press; and Jeannette and husband Vilsoni were setting out to make a new short film atop Mauna Kea on Hawaiʻi Island. Mahalo to Jeannette Paulson Hereniko of Honolulu for sharing your story with us. And thank 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.

 

I’m not afraid. When I stand before a crowd, I’m not afraid. Again, maybe it goes back to that childhood. That’s my home. Ten years old; you know, I was performing at ten, live audiences as well, and I’ve just never been afraid. Sometimes, it’s harder one-to-one.

 

[END]

 

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