Hawaii Stories of Change Kokua Hawaii Oral History Project
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Armed Sloop Welcome Crew Training Manual
HMAS WELCOME ARMED SLOOP WELCOME CREW TRAINING MANUAL Discovery Center ~ Great Lakes 13268 S. West Bayshore Drive Traverse City, Michigan 49684 231-946-2647 [email protected] (c) Maritime Heritage Alliance 2011 1 1770's WELCOME History of the 1770's British Armed Sloop, WELCOME About mid 1700’s John Askin came over from Ireland to fight for the British in the American Colonies during the French and Indian War (in Europe known as the Seven Years War). When the war ended he had an opportunity to go back to Ireland, but stayed here and set up his own business. He and a partner formed a trading company that eventually went bankrupt and Askin spent over 10 years paying off his debt. He then formed a new company called the Southwest Fur Trading Company; his territory was from Montreal on the east to Minnesota on the west including all of the Northern Great Lakes. He had three boats built: Welcome, Felicity and Archange. Welcome is believed to be the first vessel he had constructed for his fur trade. Felicity and Archange were named after his daughter and wife. The origin of Welcome’s name is not known. He had two wives, a European wife in Detroit and an Indian wife up in the Straits. His wife in Detroit knew about the Indian wife and had accepted this and in turn she also made sure that all the children of his Indian wife received schooling. Felicity married a man by the name of Brush (Brush Street in Detroit is named after him). -
James Albert Michener (1907-97): Educator, Textbook Editor, Journalist, Novelist, and Educational Philanthropist--An Imaginary Conversation
DOCUMENT RESUME ED 474 132 SO 033 912 AUTHOR Parker, Franklin; Parker, Betty TITLE James Albert Michener (1907-97): Educator, Textbook Editor, Journalist, Novelist, and Educational Philanthropist--An Imaginary Conversation. PUB DATE 2002-00-00 NOTE 18p.; Paper presented at Uplands Retirement Community (Pleasant Hill, TN, June 17, 2002). PUB TYPE Opinion Papers (120) EDRS PRICE EDRS Price MF01/PC01 Plus Postage. DESCRIPTORS *Authors; *Biographies; *Educational Background; Popular Culture; Primary Sources; Social Studies IDENTIFIERS *Conversation; Educators; Historical Research; *Michener (James A); Pennsylvania (Doylestown); Philanthropists ABSTRACT This paper presents an imaginary conversation between an interviewer and the novelist, James Michener (1907-1997). Starting with Michener's early life experiences in Doylestown (Pennsylvania), the conversation includes his family's poverty, his wanderings across the United States, and his reading at the local public library. The dialogue includes his education at Swarthmore College (Pennsylvania), St. Andrews University (Scotland), Colorado State University (Fort Collins, Colorado) where he became a social studies teacher, and Harvard (Cambridge, Massachusetts) where he pursued, but did not complete, a Ph.D. in education. Michener's experiences as a textbook editor at Macmillan Publishers and in the U.S. Navy during World War II are part of the discourse. The exchange elaborates on how Michener began to write fiction, focuses on his great success as a writer, and notes that he and his wife donated over $100 million to educational institutions over the years. Lists five selected works about James Michener and provides a year-by-year Internet search on the author.(BT) Reproductions supplied by EDRS are the best that can be made from the original document. -
Reading the Novel of Migrancy
Reading the Novel of Migrancy Sheri-Marie Harrison Abstract This essay argues that novels like Marlon James’s A Brief History of Seven Killings, Viet Thanh Nguyen’s The Sympathizer, Colson Whitehead’s The Underground Railroad, and Mohsin Hamid’s Exit West exemplify a new form of the novel that does not depend on national identification, but is instead organized around the transnational circulation of people and things in a manner that parallels the de- regulated flow of neoliberal capital. In their literal depiction of the movement of people across borders, these four very different novels collectively address the circulation of codes, tropes, and strategies of representation for particular ethnic and racial groups. Moreover, they also address, at the level of critique, the rela- tionship of such representational strategies to processes of literary canonization. The metafictional and self-reflexive qualities of James’s and Nguyen’s novels con- tinually draw the reader’s attention to the politics of reading and writing, and in the process they thwart any easy conclusions about what it means to write about conflicts like the Vietnam war or the late 1970s in Jamaica. Likewise, despite their different settings Hamid’s Exit West and Whitehead’s Underground Railroad are alike in that they are both about the movement of stateless people across borders and both push the boundaries of realism itself by employing non-realistic devices as a way of not representing travel across borders. In pointing to, if not quite il- luminating, the “dark places of the earth,” the novel of migrancy thus calls into existence, without really representing, conditions for a global framework that does not yet exist. -
Mast Furling Installation Guide
NORTH SAILS MAST FURLING INSTALLATION GUIDE Congratulations on purchasing your new North Mast Furling Mainsail. This guide is intended to help better understand the key construction elements, usage and installation of your sail. If you have any questions after reading this document and before installing your sail, please contact your North Sails representative. It is best to have two people installing the sail which can be accomplished in less than one hour. Your boat needs facing directly into the wind and ideally the wind speed should be less than 8 knots. Step 1 Unpack your Sail Begin by removing your North Sails Purchasers Pack including your Quality Control and Warranty information. Reserve for future reference. Locate and identify the battens (if any) and reserve for installation later. Step 2 Attach the Mainsail Tack Begin by unrolling your mainsail on the side deck from luff to leech. Lift the mainsail tack area and attach to your tack fitting. Your new Mast Furling mainsail incorporates a North Sails exclusive Rope Tack. This feature is designed to provide a soft and easily furled corner attachment. The sail has less patching the normal corner, but has the Spectra/Dyneema rope splayed and sewn into the sail to proved strength. Please ensure the tack rope is connected to a smooth hook or shackle to ensure durability and that no chafing occurs. NOTE: If your mainsail has a Crab Claw Cutaway and two webbing attachment points – Please read the Stowaway Mast Furling Mainsail installation guide. Step 2 www.northsails.com Step 3 Attach the Mainsail Clew Lift the mainsail clew to the end of the boom and run the outhaul line through the clew block. -
09 1Bkrv.Donaghy.Pdf
book reviews 159 References Bickerton, Derek, and William H. Wilson. 1987. “Pidgin Hawaiian.” In Pidgin and Creole Lan- guages: Essays in Memory of John E. Reinecke, edited by Glenn G. Gilbert. Honolulu: Uni- versity of Hawai‘i Press. Drechsel, Emanuel J. 2014. Language Contact in the Early Colonial Pacific: Maritime Polynesian Pidgin before Pidgin English. Cambridge: Cambridge University Press. Massam, Diane. 2000. “VSO and VOS: Aspects of Niuean Word Order.” In The Syntax of Verb Initial Languages, 97–117. Edited by Andrew Carnie and Eithne Guilfoyle. Oxford: Oxford University Press. Roberts, [S.] J. M. 1995. “Pidgin Hawaiian: A Sociohistorical Study.” Journal of Pidgin and Creole Languages 10: 1–56. Amsterdam: John Benjamins Publishing. Romaine, Suzanne. 1988. Pidgin and Creole Languages. London: Longman. Hawaiian Music and Musicians (Ka Mele Hawai‘i A Me Ka Po‘e Mele): An Encyclopedic History, Second Edition. Edited by Dr. George S. Kanahele, revised and updated by John Berger. Honolulu: Mutual Publishing, 2012. xlix + 926 pp. Illus- trated. Appendix. Addendum. Index. $35.00 paper ‘Ōlelo Hō‘ulu‘ulu / Summary Ua puka maila ke pa‘i mua ‘ana o Hawaiian Music and Musicians ma ka MH 1979. ‘O ka hua ia o ka noi‘i lō‘ihi ma nā makahiki he nui na ke Kauka George S. Kanahele, ko The Hawaiian Music Foundation, a me nā kānaka ‘ē a‘e ho‘i he lehulehu. Ma ia puke nō i noelo piha mua ‘ia ai ka puolo Hawai‘i, me ka mana‘o, na ia puke nō e ho‘olako mai i ka nele o ka ‘ike pa‘a e pili ana i ka puolo Hawai‘i, kona mo‘olelo, kona mohala ‘ana a‘e, nā mea ho‘okani a pu‘ukani kaulana, a me nā kānaka kāko‘o pa‘a ma hope ona. -
2021 Transpacific Yacht Race Event Program
TRANSPACTHE FIFTY-FIRST RACE FROM LOS ANGELES 2021 TO HONOLULU 2 0 21 JULY 13-30, 2021 Comanche: © Sharon Green / Ultimate Sailing COMANCHE Taxi Dancer: © Ronnie Simpson / Ultimate Sailing • Hamachi: © Team Hamachi HAMACHI 2019 FIRST TO FINISH Official race guide - $5.00 2019 OVERALL CORRECTED TIME WINNER P: 808.845.6465 [email protected] F: 808.841.6610 OFFICIAL HANDBOOK OF THE 51ST TRANSPACIFIC YACHT RACE The Transpac 2021 Official Race Handbook is published for the Honolulu Committee of the Transpacific Yacht Club by Roth Communications, 2040 Alewa Drive, Honolulu, HI 96817 USA (808) 595-4124 [email protected] Publisher .............................................Michael J. Roth Roth Communications Editor .............................................. Ray Pendleton, Kim Ickler Contributing Writers .................... Dobbs Davis, Stan Honey, Ray Pendleton Contributing Photographers ...... Sharon Green/ultimatesailingcom, Ronnie Simpson/ultimatesailing.com, Todd Rasmussen, Betsy Crowfoot Senescu/ultimatesailing.com, Walter Cooper/ ultimatesailing.com, Lauren Easley - Leialoha Creative, Joyce Riley, Geri Conser, Emma Deardorff, Rachel Rosales, Phil Uhl, David Livingston, Pam Davis, Brian Farr Designer ........................................ Leslie Johnson Design On the Cover: CONTENTS Taxi Dancer R/P 70 Yabsley/Compton 2019 1st Div. 2 Sleds ET: 8:06:43:22 CT: 08:23:09:26 Schedule of Events . 3 Photo: Ronnie Simpson / ultimatesailing.com Welcome from the Governor of Hawaii . 8 Inset left: Welcome from the Mayor of Honolulu . 9 Comanche Verdier/VPLP 100 Jim Cooney & Samantha Grant Welcome from the Mayor of Long Beach . 9 2019 Barndoor Winner - First to Finish Overall: ET: 5:11:14:05 Welcome from the Transpacific Yacht Club Commodore . 10 Photo: Sharon Green / ultimatesailingcom Welcome from the Honolulu Committee Chair . 10 Inset right: Welcome from the Sponsoring Yacht Clubs . -
Regional Oral History Off Ice University of California the Bancroft Library Berkeley, California
Regional Oral History Off ice University of California The Bancroft Library Berkeley, California Richard B. Gump COMPOSER, ARTIST, AND PRESIDENT OF GUMP'S, SAN FRANCISCO An Interview Conducted by Suzanne B. Riess in 1987 Copyright @ 1989 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West,and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. All uses of this manuscript are covered by a legal agreement between the University of California and Richard B. Gump dated 7 March 1988. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
Pacific Islands Program
/ '", ... it PACIFIC ISLANDS PROGRAM ! University of Hawaii j Miscellaneous Work Papers 1974:1 . BIBLIOGRAPHY OF HAWAIIAN LANGUAGE MATERIALS AT THE UNIVERSITY OF HAWAII, MANOA CAMPUS Second Printing, 1979 Photocopy, Summer 1986 ,i ~ Foreword Each year the Pacific Islands Program plans to duplicate inexpensively a few work papers whose contents appear to justify a wider distribution than that of classroom contact or intra-University circulation. For the most part, they will consist of student papers submitted in academic courses and which, in their respective ways, represent a contribution to existing knowledge of the Pacific. Their subjects will be as varied as is the multi-disciplinary interests of the Program and the wealth of cooperation received from the many Pacific-interested members of the University faculty and the cooperating com munity. Pacific Islands Program Room 5, George Hall Annex 8 University of Hawaii • PRELIMINARY / BIBLIOGRAPHY OF HAWAIIAN LANGUAGE MATERIALS AT THE UNIVERSITY OF HAWAII, MANOA CAMPUS Compiled by Nancy Jane Morris Verna H. F. Young Kehau Kahapea Velda Yamanaka , . • Revised 1974 Second Printing, 1979 PREFACE The Hawaiian Collection of the University of Hawaii Library is perhaps the world's largest, numbering more than 50,000 volumes. As students of the Hawaiian language, we have a particular interest in the Hawaiian language texts in the Collection. Up to now, however, there has been no single master list or file through which to gain access to all the Hawaiian language materials. This is an attempt to provide such list. We culled the bibliographical information from the Hawaiian Collection Catalog and the Library she1flists. We attempted to gather together all available materials in the Hawaiian language, on all subjects, whether imprinted on paper or microfilm, on tape or phonodisc. -
Selected Chronology of Political Protests and Events in Lawrence
SELECTED CHRONOLOGY OF POLITICAL PROTESTS AND EVENTS IN LAWRENCE 1960-1973 By Clark H. Coan January 1, 2001 LAV1tRE ~\JCE~ ~')lJ~3lj(~ ~~JGR§~~Frlt 707 Vf~ f·1~J1()NT .STFie~:T LA1JVi~f:NCE! i(At.. lSAG GG044 INTRODUCTION Civil Rights & Black Power Movements. Lawrence, the Free State or anti-slavery capital of Kansas during Bleeding Kansas, was dubbed the "Cradle of Liberty" by Abraham Lincoln. Partly due to this reputation, a vibrant Black community developed in the town in the years following the Civil War. White Lawrencians were fairly tolerant of Black people during this period, though three Black men were lynched from the Kaw River Bridge in 1882 during an economic depression in Lawrence. When the U.S. Supreme Court ruled in 1894 that "separate but equal" was constitutional, racial attitudes hardened. Gradually Jim Crow segregation was instituted in the former bastion of freedom with many facilities becoming segregated around the time Black Poet Laureate Langston Hughes lived in the dty-asa child. Then in the 1920s a Ku Klux Klan rally with a burning cross was attended by 2,000 hooded participants near Centennial Park. Racial discrimination subsequently became rampant and segregation solidified. Change was in the air after World "vV ar II. The Lawrence League for the Practice of Democracy (LLPD) formed in 1945 and was in the vanguard of Post-war efforts to end racial segregation and discrimination. This was a bi-racial group composed of many KU faculty and Lawrence residents. A chapter of Congress on Racial Equality (CORE) formed in Lawrence in 1947 and on April 15 of the following year, 25 members held a sit-in at Brick's Cafe to force it to serve everyone equally. -
The History and Philosophy of the Postwar American Counterculture
The History and Philosophy of the Postwar American Counterculture: Anarchy, the Beats and the Psychedelic Transformation of Consciousness By Ed D’Angelo Copyright © Ed D’Angelo 2019 A much shortened version of this paper appeared as “Anarchism and the Beats” in The Philosophy of the Beats, edited by Sharin Elkholy and published by University Press of Kentucky in 2012. 1 The postwar American counterculture was established by a small circle of so- called “beat” poets located primarily in New York and San Francisco in the late 1940s and 1950s. Were it not for the beats of the early postwar years there would have been no “hippies” in the 1960s. And in spite of the apparent differences between the hippies and the “punks,” were it not for the hippies and the beats, there would have been no punks in the 1970s or 80s, either. The beats not only anticipated nearly every aspect of hippy culture in the late 1940s and 1950s, but many of those who led the hippy movement in the 1960s such as Gary Snyder and Allen Ginsberg were themselves beat poets. By the 1970s Allen Ginsberg could be found with such icons of the early punk movement as Patty Smith and the Clash. The beat poet William Burroughs was a punk before there were “punks,” and was much loved by punks when there were. The beat poets, therefore, helped shape the culture of generations of Americans who grew up in the postwar years. But rarely if ever has the philosophy of the postwar American counterculture been seriously studied by philosophers. -
Hawaiʻi's Big Five
Hawaiʻi’s Big Five (Plus 2) “By 1941, every time a native Hawaiian switched on his lights, turned on the gas or rode on a street car, he paid a tiny tribute into Big Five coffers.” (Alexander MacDonald, 1944) The story of Hawaii’s largest companies dominates Hawaiʻi’s economic history. Since the early/mid- 1800s, until relatively recently, five major companies emerged and dominated the Island’s economic framework. Their common trait: they were focused on agriculture - sugar. They became known as the Big Five: C. Brewer (1826;) Theo H. Davies (1845;) Amfac - starting as Hackfeld & Company (1849;) Castle & Cooke (1851) and Alexander & Baldwin (1870.) C. Brewer & Co. Amfac Founded: October 1826; Capt. James Hunnewell Founded: 1849; Heinrich Hackfeld and Johann (American Sea Captain, Merchant; Charles Carl Pflueger (German Merchants) Brewer was American Merchant) Incorporated: 1897 (H Hackfeld & Co;) American Incorporated: February 7, 1883 Factors Ltd, 1918 Theo H. Davies & Co. Castle & Cooke Founded: 1845; James and John Starkey, and Founded: 1851; Samuel Northrup Castle and Robert C. Janion (English Merchants; Theophilus Amos Starr Cooke (American Mission Secular Harris Davies was Welch Merchant) Agents) Incorporated: January 1894 Incorporated: 1894 Alexander & Baldwin Founded: 1870; Samuel Thomas Alexander & Henry Perrine Baldwin (American, Sons of Missionaries) Incorporated: 1900 © 2017 Ho‘okuleana LLC The Making of the Big Five Some suggest they were started by the missionaries. Actually, only Castle & Cooke has direct ties to the mission. However, Castle ran the ‘depository’ and Cooke was a teacher, neither were missionary ministers. Alexander & Baldwin were sons of missionaries, but not a formal part of the mission. -
The Pleasures and Rewards of Hawaiian Music for an 'Outsider'
12 Living in Hawai‘i: The Pleasures and Rewards of Hawaiian Music for an ‘Outsider’ Ethnomusicologist Ricardo D . Trimillos Foreword I first met Stephen Wild at the 1976 Society for Ethnomusicology meeting in Philadelphia. Since that time we have enjoyed four decades as session- hopping colleagues and pub-crawling mates. In regard to the former, most memorable was the 1987 International Council for Traditional Music meeting in Berlin, where, appropriate to our honoree, one of the conference themes was ‘Ethnomusicology at Home’. It is this aspect of Stephen’s service that I celebrate in my modest effort for this festschrift. In 2006, the journal Ethnomusicology produced its ‘50th Anniversary Commemorative Issue’, which contained the essay ‘Ethnomusicology Down Under: A Distinctive Voice in the Antipodes?’ (Wild 2006). It was an informative and at times prescriptive account of the trajectory for ethnomusicology in Australia. I found the essay a most engaging exercise in personal positioning by an author within a historical narrative, one in which personality and persona were very much in evidence. Inspired by the spirit of that essay and emboldened by its novel approach, I share 335 A DISTINCTIVE VOICE IN ThE ANTIPODES observations about ‘doing ethnomusicology’ where I live—in Honolulu, Hawai‘i. This brief and personal account deliberately draws parallels with our honoree’s experiences and activities during a long career in his ‘homeplace’ (Cuba and Hummon 1993). The pleasures of Hawaiian music in California My first encounters with Hawaiian music were not in Hawai‘i but in San Jose,1 California, locale for the first two decades of my life.