Hawaiian Music - A

SURFING FOR LIFE -- Hawaiian Music & Hula Hawaiian Culture: 3 pages [ Previous page ] [ 1 ] [2 ] [ 3 ] [ Next page ] Hawaiian Music - A Brief History Hawaiian music is a unique blend of several early influences from abroad with ethnic Hawaiian chants. It has spawned the adaptation of guitar to several distinctly Hawaiian sounds and styles, notably slack key and steel guitar. This singular Hawaiian blend has given birth to such world-class musical talents as Gabby Pahinui, The Tau Moe Family, and The Sons of Hawai'i, who have all helped spread the Hawaiian sound and culture throughout the world. All of these great musicians are featured on the sound track of SURFING FOR LIFE which includes 17 songs of Hawaiian music. The general history of Hawaiian music begins in the mid 1800s, when visitors from all over the planet came by sea to Hawai'i, bringing with them instruments such as the violin, guitar, ukulele, piano, accordion and flute. Hawaiian music was rooted in old religious chants and hymns, which the native Hawaiians then mixed with the musical rhythms, sounds and instruments they heard from international visitors, immigrants and missionaries. Secular music was influenced by a variety of people including those of Mexican, Italian, German and Burmese descent. When early Mexican cowboys ( paniolo ), then still under Spanish rule, came to Hawai'i in the mid-1800s, they brought their guitars with them and taught the Hawaiians to play them in the Spanish style. The Hawaiians had innate musical talent and many became quite interested in the guitar. They largely followed the paniolo lead in guitar style and tuning. But, the Hawaiians soon adapted the tuning of the guitar to suit their own traditional Hawaiian songs and chants, loosening the guitar strings or "slacking" them. This allowed them to play bass on the loosened bass strings while playing a song's melody on the treble strings. They played a finger picking style with a steady rhythm to accompany singing and hula dancing. The slack key guitar method became so popular that families began developing their own unique styles and were very protective of their string tuning secrets. For this reason the slack key guitar style wasn't openly shared or taught within the islands for a considerable time. Ki ho' alu , or slack key has been called Hawai'i's back porch music, folk music and soul music. Its beautiful rhythms and magical way of capturing the aloha spirit are now taking international center stage. Slack key guitar -- melodious, intimate and relaxing -- is a sound now being sought the world over. Slack key festivals are popping up all over the Mainland and in many countries including Japan. Hawaiian music is also distinguished by its steel guitar style which was invented and developed in Hawai'i, largely by accident. In adapting the guitar to suit their own musical styles, Hawaiians often used a steel object and later a crafted steel bar to slide along the strings, producing a unique tone which was then integrated into the developing Hawaiian sound. The exact origins of the style and its technical inventor are widely debated; but three individuals -- Hoa, Davion and Kekuku -- may have discovered the technique independently of one another and are credited as its inventors. The steel guitar was featured in several Hawaiian bands in the early 1900s, as well as on some of the earliest recordings of Hawaiian music. Above, Hawaiian Youth, 1920 The popularization of Hawaiian music around the world began in the last quarter of the 19th century, mainly through the publishing of many of Queen Liliuokalani's songs in the United States. The early Royal Hawaiian Band played the first Hawaiian hit song, Aloha Oe , (composed by the Queen) in San Francisco in 1883. Hawaiian King Kalakaua, known as the Merry Monarch for his love of music and hula dancing, was also a skilled musician and prolific composer. Starting in 1915, the American populace was swept up in a craze over everything Hawaiian, prompted by the publicity over the traveling Hawaiian troubadours and their exotic and romantic island images. In particular, the Panama-Pacific International Exposition of 1915, taking place in San Francisco, served to introduce the unique Hawaiian sound to the world. Major recording and touring by Hawaiian bands began very shortly thereafter. Among the numerous musical influences on Hawaiian music as it evolved were gospel music, American pop such as Stephen Foster, country and western, ragtime, swing, European light opera, and jazz. The Hawaiian eclectic genius was to blend all of these international influences with their own sophisticated rhythms and guitar stylings, and to make the mix uniquely their own. After its introduction in the United States and Canada, Hawaiian music found its way to Europe during the early 1900s. The music combined slack-key and steel guitar with prominent use of the ukulele mixed with traditional Hawaiian chants and tones, The Mainland home of Hawaiian music in the '20 and '30s was the Lexington Hotel Lounge in New York, ruled by Hawaiian band leader Ray Kenney. There were many Hawaiian musical troupes touring the U.S. and Europe in the first three decades of the 20th century. One of the most popular, Jenny Wilson and her troupe of hula dancers, performed in Germany and throughout Europe. Prominent among the ambassadors of Hawaiian music in the 1920s and '30s was The Tau Moe Family which had considerable influence on the evolution of early Hawaiian music. Tau Moe, his wife and two children traveled the world in the 1920s and beyond, showcasing Hawaiian music and culture as "The Aloha Four". The group was one of the first to tour Europe during the Hawaiian cultural expansion, and for many years the family of four played in Europe, India and Asia. Queen Liliuokalani and King Kalakaua Tau Moe's life of music began as a child in Samoa. Travelling with his father, a Mormon missionary who set up churches and taught music, Tau learned his love of music from his father. When Tau was 11, his father moved the family to Hawai'i, and it was there that he was introduced to the musical styles he would grow to love and then showcase around the world. In Hawai'i, Tau Moe learned the steel guitar from M.K. Moke. He soon met another steel guitar player, Rose, who was to become his wife. The two joined a travelling show and began showcasing their musical talents. They couple had their first child, Lani, in Japan, and she too joined the family act that would come to be known, with the birth of son, Dorian, as the "Aloha Four." During the 1920s, Hawaiian music was sweeping the world with its own lilting and melodic sound. At the height of their popularity, Tau Moe and his family played for numerous world leaders in Germany, in Paris, Brussels and Japan, mesmerizing foreign audiences. They worked with a circus troupe, toured with the Josephine Baker show to Venice and played steel guitar music to an eager audience in Egypt. They also were profiled frequently in the press. The Tau Moe Family in 1970, Coutesy, Bishop Museum Years later, Tau and Rose retired, but not before leaving an indelible mark on the history of Hawaiian music, as one of the earliest musical forces to bring Hawaiian culture to international audiences. The Rounder Records CD, The Tau Moe Family with Bob Brozman, re-recorded many of the Tau Moe songs of the '20s and '30s with the original instrumentation. Two tracks from this CD, He Aloha No A Honolulu and Aloha Means I Love You , are on the sound track of SURFING FOR LIFE. Tau Moe Cover, Courtesy Rounder Records One of the greatest influences in spreading the gospel of Hawaiian music and steel guitar was the immensely popular radio program, Hawai'i Calls , rated the most popular program in radio history. Originating on July 3, 1935 from the Moana Hotel on Waikiki Beach, it featured the Harry Owens' dance orchestra with Webley Edwards as producer and Master of Ceremonies. The show's purpose was to showcase real Hawaiian music performed by Hawaiians in Hawai'i. A good portion of the songs were sung in English so mainlanders could recognize and learn to sing them. This created the hybrid style known as hapa-haole , Hawaiian music with English lyrics. At its peak in 1952, Hawai'i Calls was broadcast to 750 stations in the U.S., Canada, Latin America, Europe, Korea, Japan, South Africa, Australia and New Zealand. The show popularized a number of songs during its heyday including Sweet Leilani , The Hawaiian Wedding Song , and Little Brown Gal . The American craze over Hawaiian music began to fade in the late 1950s and '60s as other new music styles (especially rock and roll) took hold on the Mainland. But by the early '70s, Hawaiian music began to return to the mainstream and gained significant recognition and respect through the work of some of Hawaii's finest musicians, who spawned a revival of traditional Hawaiian music and also introduced newer styles. These great musicians, such as Gabby Pahinui, Eddie Kamae and The Sons of Hawai'i, have imprinted Hawaiian music on the world scene as much more than a trend. The music -- beautiful, distinctive and long-lasting -- represents the tonal and rhythmic expression of aloha. Hawai'i Calls Radio Performers, with Hilo Hattie in the Hat. Courtesy Hawai'i State Archive Charles Philip (Gabby) Pahinui was born in Honolulu in 1921. Hailed as "the folk hero of the Hawaiian music world," Gabby spent over 40 years playing in cafes, restaurants and nightclubs. Later, he spent another ten years focusing on studio albums and concerts. His long career created a large and extremely loyal following who regarded him as the quintessential Hawaiian musician and a revered representative of the Hawaiian people and culture. To many, Gabby Pahinui is synonymous with the resurgence of Hawaiian music. Interestingly, the great Hawaiian musician didn't like Hawaiian music as a boy. Growing up, Gabby was a fan of classic American jazz which greatly influenced his music over the years. As a boy, Gabby was a child musical genius. He was self-taught and never learned to read music. He learned to play the stand-up bass at age ten and started playing gigs as a child. Much to his parents dismay, he preferred to listen to his favorite jazz artists -- Benny Goodman, Duke Ellington, Lionel Hampton and others. Gabby learned to play many of the jazz harmonies of the time and especially liked "modern jazz." Although the influences of jazz are evident in Gabby's music, he was Hawaiian to the core. Gabby gained fame through his melding of jazz with traditional Hawaiian music and the slack key guitar. He first began playing slack key guitar in the early '40s and recorded Hi'ilawe , his first hit, in 1947. He learned his slack key from a Hawaiian musician named Herman, and has referred to him as the greatest slack key musician he had ever seen. Gabby picked up slack key guitar and made it his own, incorporating his favorite jazz rhythms and beats. Over the course of his lifetime, he was a major force in bringing slack key, previously a non-taught technique kept within the 'ohana or extended family, out into the open and to a very wide audience. Gabby Pahinui Gabby's amazing slack key talent overshadowed the fact that was also a highly skilled steel guitar player. In addition, his superb guitar playing was matched by his extraordinary vocal prowess. He had a lovely, unique falsetto voice that had enormous appeal to his audiences. Musical talent aside, Gabby was beloved by Hawaiians and musicians alike for his raucous personality, his infectious vitality and the way he put his soul into his music. It is often repeated that Gabby was unique in projecting a great power within his music. From the time he played his first gig, musicians have recognized in Gabby a distinct natural talent and the ability to live and breathe his music as a set of personal convictions. His talent was so impressive that it obscured his sometimes ostentatious behavior. As a young man, Gabby often infuriated club owners by his behavior during the gigs he played. He was continuously irresponsible, he had a drinking problem for years, and was a poor money manager. But he enjoyed a joyful and vivacious life that led him to be adored by almost everyone who met him. Club owners, no matter how annoyed they were by his behavior, could not dispute that Gabby had an incredible natural talent, even as a very young performer. Gabby's club circuit spanned almost 40 years during which he played with almost every important local musician -- Eddie Spencer, Andy Cummings, Tommy Carter, Joe Kaimi, George Kainapau, Gigi Royce, Alvin Isaacs, Eddie Kamae, David Nale, Fred Punahoa, and Abraham Maenwa. During the 1940s and '50s, Gabby spent a long time playing with Andy Cummings and his Hawaiian Serenaders. In the mid-sixties he began to concentrate on recording albums and concerts. In 1959, he joined Eddie Kamae in founding the highly influential group, The Sons of Hawai'i and continued to pursue solo slack-key guitar recordings. The Sons then recorded two great albums in the '60s. Gabby Pahinui on Left with Bandleader Andy Cummings at Far Right In 1971, Gabby recorded a blockbuster album with The Sons of Hawai'i on Panini Records. The album was released at an important point when Hawaiian music and culture were gaining momentum and its wide distribution put Gabby (and The Sons) right into the spotlight of the Hawaiian music renaissance. The two tracks from this milestone album on the SURFING FOR LIFE sound track are Ku'u Pete written by Irmgard F. Aluli and Mary Kawena Pukui and Hanohono Hawai'i . Gabby began playing more concerts, drawing larger crowds, the likes of which had only been seen at rock concerts. Gabby's contribution to the cultural renaissance of Hawaiian was enormous. After his last album with The Sons of Hawai'i, Gabby made an album of his own with his four sons called "Rabbit Island Music Festival." A few years later, he recorded "The Gabby Pahinui New Hawaiian Band" with mainland guitarist Ry Cooder who has said that Gabby was perhaps the finest guitar player he had ever met in his life. Gabby joined Cooder in recording another album, "Chicken Skin," notable for its worldwide release by Warner Brothers. In 1977, Gabby released another album, "Gabby Pahinui's Hawaiian Band, Vol 2" that was widely hailed as a milestone in Hawaiian music. The Sons of Hawai'i Cover In 1980, Gabby died at age 59. He had arrived home in the morning after staying out all night drinking and playing music with friends. He was playing golf with musician Andy Cummings when he collapsed on the 11th hole. The next day, all of Hawai'i mourned his death at Honolulu Hale. Musicians, fans and thousands of friends mourned this unique man who had changed the face of Hawaiian music. Gabby Pahinui has been the most important force in contemporary Hawaiian music to date. The Sons of Hawai'i, who recorded their first albun in 1962, represents a cross-section of Hawaii's greatest musicians. The group was formed by Gabby and Eddie Kamae, the islands finest ukelele player, and originally included David "Feet" Rogers on steel guitar, and Joe Marshall on bass. Each of these musicians brought with him a lifelong love of music and considerable musical expertise and experience. The group spent four months together collaborating, sharing their ideas, rehearsing and trying to develop a sound that would express a group identity. In 1960, the group's sound began to gain widespread popularity when they opened at The Sandbox in Honolulu and after the release of their first album in 1962. (Hula Records 503). The Sons of Hawai'i. Left to right: Joe Marshall, Dennis Kamakahi, Eddie Kamae, David "Feet" Rogers Despite its rapid success, the group would go through seven evolutions, as members came and went through the years with each new member bringing distinct musical sounds and talents to the group. Gabby and Joe Marshall played with other groups. The second incarnation of The Sons came together in the mid '60s, this time Kamae, Gabby, and Rogers welcomed new members-- Atta Isaacs, a slack key artist; Bobby Larson, and Norma Isaacs on Bass. Later, a third version of the group included Kamae, Marshall, Rogers, Sonny Chillingworth and Zulu. In 1970, the group reassembled to record another album, this time with Moe Keale, another ukulele player. This landmark album, The Sons of Hawai'i, was marked by a very distinctive sound, was wildly popular and is considered a classic. Between 1973 and 1982, The Sons underwent three more incarnations. In 1973, Dennis Kamakahi, a recognized Hawaiian singer and songwriter, joined in. Gabby did not take part. In 1977, Keale left the group, and in 1982 guitarists George Kuo and Raymond Balles joined forces. Rogers had fallen sick with Cancer. Since 1992, Kamae had divided his time between music and a career making documentary films focused on Hawaiian music and culture. But the group he founded and leads, The Sons of Hawai'i continues to perform their wonderful music and to ensure their lasting mark on Hawaiian music and the world. For over 40 years, The Sons have popularized the slack-key and steel guitar sounds and have creating many classic Hawaiian songs, an eloquent and beautiful tribute to the Hawaiian culture and language. Hawaiian musicians, notably Gabby Pahinui, Tao Moe, the Sons of Hawai'i, helped transform Hawaiian music and its unique styles from a music closely guarded by families (the 'ohana) to one which was openly shared by Hawaiians with the world. Styles that had been passed on from father to son were embraced on the Mainland when audiences were thrilled by Hawai'i's most talented musicians. Hawaiian musicians have also adapted other musical styles to fit into what is uniquely Hawaiian, continuing the eternal evolution of the music. The popularity of slack key and steel guitar has continued in recent years as an integral part of an island movement to explore and restore traditional Hawaiian culture to its people. Eddie Kamae One of the most lasting contributions that Hawaiian music has made to the world lies precisely in its adaptability and its openness to the influences of other styles of music. Just as early Hawaiians took foreign sounds and instruments and made them their own, Hawai'i's most famous musicians have also enjoyed the freedom to explore dissimilar musical influences and make a mark for themselves in musical history. Hawaiian music continues to be an evolutionary art form, a blend of old and new Hawai'i that has left its uniquely beautiful, melodious and heart-felt imprint on world music. Other Hawaiian Musicians, Record Companies Backyard Jam There are so many excellent Hawaiian musicans who deserve to be recognized in this history. Due to lack of space, we would simply like to thank and recognize the musicians whose music was featured on the sound track for SURFING FOR LIFE. The songs and musicians include Ku'u Kika Hahiki by Ozzie Kotani, Pu'u Anahula by Dennis Kamakahi, George Kuo and Cyril Pahinui of the Hawaiian Slack Key Band, Charmarita , Maunaloa Blues and Pahakulo by George Kuo, Kohala by Moses Kahumoku, Punahele by Ray Kane, and Kona Kai Opua , Haha Waipi'o , Nanca (NANEA) Ko Maka, He Aloha No O performed by The Malle Serenader (featuring Gabby Pahinui and "Feet" Rogers). Four record companies licensed this beautiful Hawaiian music for our use in SURFING FOR LIFE. Three of the labels have specialized in Hawaiian music, and we want to honor their work in recording and distributing so much fine music from the Islands of Aloha. Here are brief histories of Hula Records (now Hawai'i Calls), Panini Records and Dancing Cat Records. PANINI RECORDS, INC. Panini Records has been recording Hawaii's finest music for over 30 years. It was founded by Lawrence Brown, Witt Shingle, and Steve Siegfried in 1971. The Label's first release was the milestone record, The Sons of Hawai'i, which achieved enormous recognition and a large new audience for Hawaiian Music. Panini Records also recorded slack key guitar great Gabby Pahinui. The Label's second album, released in 1972, was made with Gabby Pahinui and entitled Gabby. The album featured Gabby, and his sons Bla, Phil, Cyril and Martin Pahinui in a focus on slack-key guitar and strong vocals. A year later, Gabby recorded Rabbit Island Music Festival with Panini, this time he and his sons were joined by Sonny Chillingworth, Leland Isaacs, and Randy Lorenzo. Panini released an album recorded by Pahinui in conjunction with Sunday Manoa, a group comprised of Peter Moon, Roland, and Robert Cazimero. The album, entitled Sunday Manoa 3 , featured the song Hawaiian Lullaby . In 1974, Panini released a live recording of some of Hawaii's greatest musicians at a concert in Waimea. The album featured Gabby, Sonny Chillingworth, Leland Isaacs, Genoa Keawe, Peter Moon, Roland, and Robert Cazimero. During 1975 Panini recorded the famous Gabby Pahinui Hawaiian Band with Gabby's group and Ry Cooder. The historic album produced was called the finest collection of Hawaiian music to date. The album, distributed worldwide through Warner Brothers, was highly successful. Panini recorded several albums of Peter Moon's music, notably Tropical Storm , an award winning album featuring Randy Lorenzo, Cyril Pahinui and Boddy Hall and including the hit song Island Love . Moon also recorded Malle , a more traditional arrangement of Hawaiian songs. Between 1982 and 1991, Panini was mostly inactive, emerging in 1991 to record The Pahinui Brothers album with Gabby Pahinui's sons. The album featured Ry Cooder, David Lindley and Jim Keltner and became a wonderful compilation of slack key, rock and country, and was distributed worldwide by BMG Music. Panini Records has continued to be an essential element in the distribution of classic, traditional Hawaiian music to the world HULA RECORDS Hula Records has the oldest and largest catalog of Hawaiian Music in the industry and has been dedicated to distributing Hawaiian music to the world since 1947. Founded by Donald McDiarmid, Sr. and carried on by son and grandson, the company is now named Hawai'i Calls Inc. for the first radio show of the same name broadcast in Waikiki in 1935. The first Hawai'i Calls show was created and hosted by Webley Edwards and showcased top Hawaiian musicians. At its peak, the show could be heard on over 700 radio stations in North America and internationally in New Zealand, Mexico, South America, and South Africa. The most popular radio show in history, it popularized a number of shows during its heyday including Sweet Leilani , The Hawaiian Wedding Song , and Little Brown Gal . Hawai'i Calls continues to promote Hawaiian music around the world, and distributes recordings of many of the musicians that have contributed to the SURFING FOR LIFE soundtrack. Among the great Hawaiian musicians recorded on the Hula Records label are: Gabby Pahinui, The Sunday Manoa, The Sons of Hawai'I, The Maile Serendaders, Mahi Beamer, The Kahauanu Lake Trio, Kawai Cockett, Geneo Keawe and Alfred Apaka DANCING CAT RECORDS Dancing Cat Records was founded in 1983 by pianist George Winston with the goal of promoting the music of those who had inspired him. After releasing some albums of his favorite musicians, he decided to focus instead on the music of the Hawaiian slack key guitar. Winston had been a student of the slack key guitar for over twenty years and became dedicated to preserving it. He focused Dancing Cat's resources on producing recordings of traditional slack key guitar masters, and then later, on younger players. Dancing Cat has been distributing Hawaiian music to the continental United States and the world ever since. Since its inception, Dancing Cat Records has produced 25 recordings in the ongoing Hawaiian Slack Key Guitar Masters series. Recorded guitarists include Sonny Chillingworth, Barney Isaacs, Ledward Kaapana, Moses Kahumoku, George Kahumoku, Leonard Kwan, Dennis Kamakahi, James Bla Pahinui, Ray Kane, and Cyril Pahinui among others. Dancing Cat Records has been successful in reaching a large number of people across the U.S. and around the world through artist interviews and recording reviews. Dancing Cat artists have appeared on The Today Show, The Disney Channel, ABC News in Philadelphia, Bay TV in San Francisco, NBC News in Seattle, and NPRs All Things Considered. Founder George Winston was also featured in a PBS concert special in December of 1996 in which he played a duet with Keola Beamer and Chet Atkins. Dancing Cat compiled a CD entitled The Language of Dreams devised solely to educate people across the country and the music industry in general about Hawaiian Music and the slack key guitar. The CD includes interviews with George Winston and Keola Beamer, Sonny Chillingworth, Ray Kane, Cyril Pahinui, and others and was aired promoted to over 1,300 radio stations across the country. Hawaiian Culture: 3 pages [ Previous page ] [ 1 ] [2 ] [ 3 ] [ Next page ] Ray Kane

Hawaiian Recipes 2 recipes

Oaxacan / Hawaiian | Recipe*zaar ADVERTISEMENT - Remove ads with Recipezaar Premium You are Here: Home > Oaxacan > Hawaiian Get our free newsletter Eater's Digest : | Sign in Home Recipes My Stuff Community Tools Marketplace Help Search: All Recipes Only My Cookbook by Ingredient by Recipe ID # Kitchen Dictionary Member Names for advanced... Like to cook with your eyes? Browse recipes with photos new pictures posted daily Oaxacan Hawaiian Recipes 2 recipes sorted by most recently posted highest rated photos fastest to make alphabetical Top 40 Oaxacan Hawaiian Recipes | Recently Reviewed Oaxacan Hawaiian Recipes | ( what is this? ) Search within this set: Filter results by category: ( What is this? ) You do not have JavaScript enabled so the category list below will not function properly. Please click "what is this?" above for more information. Remove all filters Course Appetizers Condiments, etc. Sauces Chutneys Salsas Savory Sauces Sweet Sauces Garnishes Main Dish Salads Side Dishes Main Ingredient Beans Eggs/Dairy Cheese Fruit Tropical Mango Papaya Vegetables Greens Lettuces Tomatoes Meat Beef Ground Beef Cuisine North American Canadian Atlantic Ontario Prairies Quebec Northern United States Midwestern Northeastern Southern Southwestern Western Mexican Baja Central Gulf Coast Oaxacan Pacific Oceania Australian Hawaiian Asian Southeastern Malaysian Preparation Equipment Stove Top Inexpensive Number of Servings Presentation Served Cold Served Hot Simple Beginner Cook 3 or Less Steps Time to Make Technique No Cook Occasion Brunch Dinner Party Holiday/Event Wedding Non-Religious Independence Day New Years Superbowl Novelty Seasonal Fall Spring Summer Winter Taste/Mood Comfort Food To Go... Potluck Picnic Dietary Kid Pleaser Lighter Fare Healthy Low in... Low Cholesterol Low Protein Low Sat. Fat Low Sodium Reduced Carbs Taco Salad Supreme by Heather Beldin (3 reviews) My husband loves this and I make it about once a week for him. Friends and family have asked me to make this for them and for get togethers. This salad is basicly put together with anything you like in a salad. So you can add or not use what is... #78535 Save to My Cookbook Summer Salsa by wildheart Spicy and sweet, hot and cold....this is great. Serve with scrambled eggs or in egg and bacon breakfast burritos, or with pork roast. Use anywhere you would use a chutney or salsa. #59544 Save to My Cookbook Having Trouble? Try these... Search within these results for: Use the Category List on the left to narrow results. Post a Request for the Recipe and we'll help you find it. Ask a chef your question in our Cooking Q & A forum. ADVERTISEMENT Remove ads with Recipezaar Premium Your Ad Here ADVERTISEMENT - Remove ads with Recipezaar Premium Back to Top | E-mail this Page You are Here: Home > Oaxacan > Hawaiian Your Account My Stuff My Cookbook My Shopping List Edit My Profile Premium Membership Logout Recipes Browse Categories Browse Cookbooks Search Request a Recipe Post Your Recipe Recipes A-Z Explore Community Forums Marketplace Site News A Random Recipe Recent Searches Help F.A.Q. Support Forum Cooking Q & A Forum Kitchen Dictionary Measurements Convertor Contact Us Fine Print Terms of Service Privacy Policy About Us Jobs Add Recipes to Your Site Advertise Here © 1999-2006 Recipezaar 10.0.0.2 Page generated in 0.16 seconds 0.01,0.15, Page generated in 0.13 seconds 0.12,0.00,0.01,0.00, Page generated in 0.12 seconds 0.00,0.06,0.06,0.00,

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Current update of the eruption of Kilauea Volcano, Hawai`i `o Eruption Summary Hazards History Panorama Images Eruption Update and Image Archive | deformation | images | maps | Pu`u `O`o camera | 0555 January 14[Note: Your observer will be way south of the border, almost astraddle the equator, for the next two weeks. The next regularly scheduled morning update will be on Monday, January 30. Updates may occur at irregular intervals in the interim.]The Full Wolf Moon is the brightest object visible this morning, for lava on Pulama pali is confined to small patches and rivulets in the west string of breakouts. The breakouts reache from about the 1400-foot elevation down to about the 900-foot elevation, with small lava patches down to about 300 feet, as noted by yesterday's field workers. Glow comes from just above the top of the pali, probably at about the 1900-foot elevation, and testifies to surface lava there, too. Yesterday's observers noted some lava along the far east side of the PKK flow just outside the national park at about the 200-foot elevation 3.8 km from the end of the Kalapana access road.Moderate glow comes from East Lae`apuki this morning. Lava rose from cracks that cut the front half of the delta on Thursday and added perhaps as much as 80 m to the west side of the delta. The observers estimated that at least a third of the delta is new or resurfaced by lava. Lava enters the ocean at numerous spots along most of the front of the delta, so that the laze plume is spread almost continuously along the water's edge. The delta is now about 500 m long (parallel to shore) but still only 140 m wide. The crater of Pu`u `O`o is badly socked in this morning, but glimpses appear of all vents except Beehive. Conditions were similar yesterday, and the field observers were skunked. They did witness, however, a breakout from the PKK tube at the base of the flank shield. It was not active at 0900, was going strong at ~1030, and was over by 1130. The breakout came from a shatter ring immediately down-tube from the bend in the tube at the base of the flank shield. This shatter ring may be the source for all the breakouts from the upper tube that have occurred since mid-December. The shatter ring is 60 m x 75 m across, and its southwest side is a 3-4-m-high, nearly vertical rubble wall. This area was very noisy, with cracking and scraping and lots of rock falling off, both during and after the breakout. Background volcanic tremor is about normal at Kilauea's summit this morning. Volcanic tremor is at a moderate level at Pu`u `O`o.Inflation at Kilauea's summit continued for the past 24 hours and has now recovered the 5.2 microradians lost during the deflation of January 9-10. In contrast, Pu`u `O`o is having a rocky, slow deflation that started midday January 12 and by this writing has lost almost 1 microradian. Note: Check Photo Glossary or a good dictionary for any terms unfamiliar to you. See Maps and accompanying caption for place names. Maps updated on December 19 Current Deformation Electronic Tilt Global Positioning System (GPS) Images and Chronology Looking for images you could swear you saw here but can't find now? Check Image Archive 13 January 2006 East Lae`apuki lava delta | med | large | | med | large | Left . Looking northeast across lava delta at East Lae`apuki. Note smooth, new surface on near part of delta, created when lava welled from cracks a couple of days ago. These cracks are shown in first image for January 6. Note also that most of delta front is source of laze; this is because lava pours into the water at many places. 0905. Right . Looking west at lava delta, showing how it nestles against cliff bounding embayment. Much of the cliff was created during collapse of earlier lava delta and adjacent "mainland" on November 28. As such, only part of the cliff is a true "sea cliff," formed by erosion. 0907. 6 January 2006 East Lae`apuki lava delta and Petunia skylight | med | large | | med | large | Left . Looking east across lava delta at East Lae`apuki. Note the cracks cutting the outer part of the delta. The cracks have formed in the last week or two as the delta has grown larger and become more unstable. Similar cracks cut the delta before its wholesale collapse on November 28, 2005. Steam (laze) rises at points where lava is entering the water. 0910. Right . Pretty Petunia skylight in roof of PKK lava tube, upper part of PKK flow. View looks downstream. Some of the lava visible through the skylight will eventually end up at East Lae`apuki 1-2 hr later. 1122. 29 December 2005 East Lae`apuki and MLK vent area | med | large | | med | large | Left . Lava delta at East Lae`apuki, built since November 28. White color on delta is from salt and other minerals precipitating on surface. Inland, note the scattered puffs of fume coming from points along lava tube feeding the delta. Actual point where tube enters delta is hidden by large laze plume. Note lopsided nature of delta; most is built right (east) of tube. Pulama pali in distance. 0938. Right . Treacherous lip of pit at MLK vent. Is it any wonder that geologists take care in this area? Southwest slope of Pu`u `O`o in background. 1016. 22 December 2005 East Lae`apuki and Pu`u `O`o area | med | large | | med | large | Left . Head-on view of East Lae`apuki lava delta. Four main ocean-entry points, and several smaller ones, generate plumes of laze, mainly steam. 1249. Right . Long-shore view of East Lae`apuki lava delta, looking east. Almost all of this delta has been rebuilt since the collapse of November 28. 1249. | med | large | | med | large | Left . Low-level fountaining in East Pond Vent on floor of Pu`u `O`o. Image taken through thick fume, which enhances red color. 1329. Right . Treacherous MLK vent area at southwest base of Pu`u `O`o (cone behind MLK crater.) Note highly cracked surface adjacent to MLK crater. In upper right is Kupaianaha shield, built in late 1980s. 1226. 16 December 2005 Growing lava delta and collapsing Pu`u `O`o | med | large | | med | large | Left . Aerial view looking west at new East Lae`apuki lava delta, built in scar left after collapse of original delta and adjacent old sea cliff on November 28. 0915. Right . Slump blocks on south rim of Pu`u `O`o's crater. Most of the south rim of the cone is badly cracked and waiting to fall, and gaping cracks also cut the south flank of the cone below the rim. 1048. 2 December 2005 East Lae`apuki and Pu`u `O`o | med | large | | med | large | Left . Aerial view of embayment left after destruction of east Lae`apuki lava delta on November 28. Compare with last image taken on November 1. Column of steam and other gases rises from site of new, growing lava delta. 1021. Right . Head-on aerial view of new lava delta and sea cliff behind. The cliff retreated several tens of meters during the November 28 collapse. 1021. | med | large | | med | large | Left . New lava delta and feeding stream of lava emerging from tube high on cliff. 1023. Right . Closer view lava spilling from tube and flowing down fan created by the stream. Note that stream flows into a new tube that is being created by cooling of the surface of the lava. 1023. | med | large | | med | large | Left . Incandescent hole at MLK vent at southwest base of Pu`u `O`o. Hole is 1-2 m across. 1201. Right . Aerial view of East Pond Vent in crater of Pu`u `O`o. 1251. Current Deformation Map of selected deformation stations Electronic Tiltmeter Pu`u `O`o experienced bumpy tilt on January 7, 8, and early January 9; the bumps average out to flat tilt. Uwekahuna inflated slightly until noon January 7, deflated in the afternoon, inflated until early January 8, and then flattened and stayed flat for most of the day. It then started to inflated before midnight and continued up until 2141 January 9. Then Uwekahuna started a rapid, large deflation that finally ended at 2345 January 10 after a loss of 5.2 microradians. Pu`u `O`o inflated during January 8, following Uwekahuna, but it did not plummet when the summit started to deflate, instead maintaining flat to gently declining tilt throughout January 10 and into the 11th. Kilauea's summit began to inflate steeply at 2345 January 10, ending the deflation. The inflation continued through January 11-12-13 and into January 14 and had recovered all the tilt lost by the January 9-10 deflation by early January 14. Pu`u `O`o had pretty flat tilt until about noon January 11 and then began a slow inflation that continued until late morning January 12. The tilt that more or less stabilized before dropping a little that night and through January 13 into January 14, though the deflation was very irregular. This graph shows the radial tilt at Uwekahuna (UWE), on the northwest rim of Kilauea's caldera, and at Pu`u `O`o cone (POC), on the northwest flank of the active vent along the east rift zone, as recorded by continuously operating electronic tiltmeters. Positive changes indicate inflation of the magma storage areas beneath the caldera or Pu`u `O`o. Data are shown for a one-week period. A long-term trend of constant-rate, large deflation at Pu`u `O`o used to be removed for scale reasons, but starting on May 24, 2002, the tilt is shown as recorded, including the long-term deflation. The graph is refreshed at the same time as the eruption update at the top of this page, usually daily. The Y-axis is in microradians, an angular measure in parts per million; for example, one microradian represents the tilt of a 1-km-long bar, one end of which is lifted up or down 1 mm. Global Positioning System (GPS) Two years of data are shown in the plot. Between June 2003 and July 2004 the lengthening between the two stations was generally at a gradually increasing rate. The distance then became stable for nearly a month, but then extension resumed at a slightly slower rate than before the brief stable period. Extension picked up significantly in December 2004 and continued to lengthen rapidly until late February 2005. Then the line rather abruptly started to contract. The contraction ended in mid-March 2005, and the line remained steady until early May, when it began to lengthen once more. The lengthening continued until early July 2005, when the distance stabilized, coincident with a flattening of the tilt at Uwekahuna. Extension then resumed at a quickened rate in late July-early August 2005 and continued to late September. Then the rate of lengthening sharply reduced and perhaps even became zero for a time. Then, in November 2005, the line began to lengthen once more, only to stabilize once more at the end of the year. This graph shows the change in distance between two Global Positioning System (GPS) stations located on opposite ides of Kilauea's caldera. A rapid increase in distance can be interpreted as inflation of the summit magma reservoir. The graph is refreshed at the same time as the eruption update at the top of this page, usually daily. For more information on how electronic tiltmeters and GPS receivers help monitor the deformation of Kilauea and Mauna Loa volcanoes, see a summary of the inflation-deflation of magma chambers . Maps of lava-flow field, Kilauea Volcano Map of flows from Pu`u `O`o: 19 December 2005 Map shows lava flows erupted during 1983-present activity of Pu`u `O`o and Kupaianaha ( see large map ). Yellow, brown, and red colors indicate lava flows erupted from October 2003 to December 16, 2005. Yellow indicates the currently active Kuhio (PKK) flow, active most of the time from March 20, 2004 to the present. The east and west arms of the PKK flow, once widely separated, began to merge and overlap on the coastal flat in March 2005. The east arm feeds the East Lae`apuki ocean entry. Activity on the west arm declined through mid-August, and the last surface flow on that arm was observed on August 21. The recent (November-December 2005) breakouts on Pulama pali described as "eastern" and "western" are all on the east arm of the PKK flow. The brown shade denotes Martin Luther King (MLK ) flows, which first erupted in January 2004 from flank vents on the south slope of Pu`u `O`o. Since then, several more vents have formed in the MLK area and continue to erupt intermittently. Red indicates the Mother's Day and Banana flows, last active in September 2004. Short flows from the crater, West Gap, and Puka Nui vents are also shown in red. In recent months, only the Puka Nui vent has produced infrequent, small flows. Map of Pu`u `O`o and vicinity: 19 December 2005 Map shows vents, lava flows, and other features near Pu`u `O`o frequently referred to in updates ( see large map ). These features can change quickly, but this map should help those viewers lost in the terminology. The vents, lava tubes, and flows active in 2005 include the numbered vents in the crater, the MLK vent complex and associated flows, the Puka Nui vent, and the upper Kuhio (PKK) tube, which feeds the lava flows eventually reaching the ocean. Eruption-viewing opportunities change constantly, so refer to this page often. Those readers planning a visit to Kilauea or Mauna Loa volcanoes can get much useful information from Hawai`i Volcanoes National Park . The URL of this page is http://hvo.wr.usgs.gov/kilauea/update/ Contact: hvowebmaster@usgs.gov Updated: 14 January 2006 (DAS)