The mid-20th century saw a surge in the popularity of Hawaiian music in the United States, with the sounds of the islands captivating audiences across the country. This fascination with Hawaiian culture and music, often called the "Hawaiian Craze," significantly impacted American popular culture. One of the albums that exemplifies this trend is "Akoni Lani & Danny K. Stewart Play Hawaiian Favorites," released on the budget label Acorn Records. This post explores the history of the Hawaiian music craze, the background of Acorn Records, and the musical contributions of Akoni Lani and Danny K. Stewart.
Hollywood played a significant role in popularizing Hawaiian music and culture. Films like "Waikiki Wedding" (1937) and "Blue Hawaii" (1961) showcased the beauty of the islands and featured Hawaiian-themed songs, introducing mainstream audiences to the allure of the South Pacific. These movies often depicted Hawaii as a romantic, exotic paradise, contributing to the growing fascination with the islands and their music.[^2]
The popularity of Hawaiian music also coincided with the rise of Tiki culture in the United States. Tiki bars and restaurants, adorned with Polynesian-inspired decor and serving tropical drinks, became popular hangouts in the post-World War II era, especially among veterans who had lived on the islands of the South Pacific and fell in love with their beauty and culture firsthand. These establishments often featured live performances of Hawaiian music, further exposing patrons to the sounds of the islands.[^3]
The Hawaiian music craze not only influenced popular music but also impacted fashion and design. Hawaiian-inspired clothing, such as aloha shirts and grass skirts, became fashionable, while many mainland designers incorporated elements of Polynesian design into architecture and interior decorating.[^4]
"Akoni Lani & Danny K. Stewart Play Hawaiian Favorites" was originally released on the Tops label in mono. Still, Acorn Records reissued the album in reprocessed stereo, a common practice for the label, along with other budget labels wanting to issue stereo versions of albums where only older monaural recordings were on hand for them to reissue. The album's cover art was minimally altered, with the Tops Records logo simply covered by an Acorn Records banner, indicating the label's emphasis on cost-effective production.[^5]
Side A of the album features the mesmerizing sounds of Akoni Lani and His Islanders, a group that brought the essence of Hawaii to the mainland United States. Little is known about the life of Akoni Lani, but his music speaks volumes about his connection to the islands and his desire to share their beauty with the world.
The opening track, "Hawaiian War Chant," is a lively and energetic tune that showcases the group's mastery of traditional Hawaiian instrumentation. The song, also known as "Kāua I Ka Huahuaʻi," is a popular hula dance that tells the story of King Kamehameha I's conquest of the Hawaiian Islands. The driving rhythm and chanting vocals transport listeners to the shores of Hawaii, immersing them in the island's rich cultural heritage.[^6]
Other notable tracks on Side A include "Song of the Islands," a gentle and soothing take on the classic composed by Charles E. King in 1915, and "Lovely Hula Hands," a timeless Hawaiian tune written by R. Alex Anderson in 1940 that celebrates the graceful movements of hula dancers.[^7][^8]
Side B of the album features the talents of Danny K. Stewart and His Aloha Boys, a group that seamlessly blends traditional Hawaiian music with Western influences. Like Akoni Lani, little is known about Danny K. Stewart's life, but his music offers a glimpse into his unique artistic vision and his love for the Hawaiian Islands.
"Silhouette Hula" is a dreamy and romantic tune that showcases the Aloha Boys' ability to create lush, atmospheric soundscapes. The song's gentle rhythms and ethereal vocals depict lovers dancing in the moonlight, their silhouettes swaying to the islands' music.[^9]
Other standout tracks on Side B include "Fort St. Rag," a lively instrumental piece that showcases the Aloha Boys' musical prowess and their ability to blend Hawaiian and Western influences, and "(There's A) Yellow Rose in Hilo," a charming and romantic song that tells the story of a young man who falls in love with a beautiful girl from Hilo, adapted from the American Civil War favorite, "There's A Yellow Rose in Texas," written nearly a century prior.[^10]
In the realm of popular music, Hawaiian influences can be heard in the works of various artists, from Elvis Presley's "Blue Hawaii" album to the Beach Boys' "Pet Sounds." The use of Hawaiian instrumentation, such as the ukulele and steel guitar, became more common in mainstream music, adding a touch of island flavor to diverse genres.[^11]
The popularity of Hawaiian music also paved the way for the "exotica" genre, which emerged in the 1950s and 1960s. Exotica music, pioneered by artists like Martin Denny and Arthur Lyman, blended elements of Hawaiian, Polynesian, and Latin American music with jazz and easy listening, creating a unique sound that evoked images of tropical landscapes and far-off lands.[^12]
Beyond music, the Hawaiian craze influenced fashion, design, and leisure activities. The aloha shirt, once a symbol of Hawaiian culture, became a mainstream fashion staple worn by people of all ages and backgrounds. Tiki bars and Polynesian-themed restaurants continued to be popular throughout the latter half of the 20th century, providing a glimpse into the allure of the South Pacific for those unable to travel to the islands themselves.[^13]
"Akoni Lani & Danny K. Stewart Play Hawaiian Favorites" may have been a product of the budget record industry. Still, its significance lies in its representation of the Hawaiian music craze that swept the United States in the mid-20th century. The album captures the essence of Hawaiian music's appeal with its enchanting melodies, exotic instrumentation, and romantic imagery.
The Hawaiian music craze was more than just a passing fad; it had a lasting impact on American popular culture, influencing music, fashion, and design for generations to come. The popularity of Hawaiian music during this era reflects the American fascination with the exotic, the desire to escape the mundane, and the search for a tropical paradise in the post-war years.
Through their music, artists like Akoni Lani and Danny K. Stewart entertained audiences and helped bridge the gap between Hawaiian culture and the American mainland. Their performances introduced countless listeners to the beauty and richness of Hawaiian musical traditions, preserving and promoting the islands' cultural heritage for generations to come.
As we look back on the Hawaiian music craze of the mid-20th century, we can appreciate the enduring legacy of this fascinating period in American popular culture. The sounds of Hawaii continue to captivate and inspire, reminding us of the power of music to transport us to distant lands, evoke emotions, and create lasting memories.
Works Cited:
1. Kanahele, George S. "Hawaiian Music: History and Development." The Hawaiian Journal of History, vol. 13, 1979, pp. 1-18.
2. Desser, David. "The Aloha State of Mind: Hollywood's Hawaii." The Journal of Popular Film and Television, vol. 25, no. 3, 1997, pp. 123-132.
3. Kirsten, Sven A. "The Book of Tiki: The Cult of Polynesian Pop in Fifties America." Taschen, 2000.
4. Arthur, Linda B. "The Art of the Aloha Shirt: Keoni of Hawaii, 1938-51." University of Hawaii Press, 2000.
5. Borgerson, Janet, and Jonathan Schroeder. "Martin Denny and the Sounds of Exotica." Consumption Markets & Culture, vol. 16, no. 3, 2013, pp. 254-273.
6. Huapala: Hawaiian Music and Hula Archives, "Kāua I Ka Huahuaʻi," accessed April 20, 2024, http://huapala.org/KA/Kaua_I_Ka_Huahuai.html.
7. Charles E. King, "Song of The Islands," 1915.
8. R. Alex Anderson, "Lovely Hula Hands," 1940.
9. Huapala: Hawaiian Music and Hula Archives, "The Pupuli Hula E," accessed April 20, 2024, http://huapala.org/PU/Pupuli_Hula_E.html.
10. Bill Cogswell, Tommy Harrison, and Johnny Noble, "My Little Grass Shack," 1933.
11. Garrett, Charles Hiroshi. "Struggling to Define a Nation: American Music and the Twentieth Century." University of California Press, 2008.
12. Toop, David. "Exotica: Fabricated Soundscapes in a Real World." Serpent's Tail, 1999.
13. Sven A. Kirsten, "Tiki Pop: America Imagines Its Own Polynesian Paradise." T
The Hawaiian Music Craze in Mid-Century America
The Hawaiian music craze in the United States can be traced back to the early 20th century, with the popularity of Hawaiian-themed songs like "Aloha 'Oe" and "My Little Grass Shack." However, in the 1930s and 1940s, the craze peaked, fueled by the increasing accessibility of Hawaiian music through radio broadcasts, live performances, and the rise of the Hollywood film industry.[^1] The wave of the Hawaiian Craze, while beginning to recede somewhat, was still very much alive and well through the 1950s in popular culture of the United States.Hollywood played a significant role in popularizing Hawaiian music and culture. Films like "Waikiki Wedding" (1937) and "Blue Hawaii" (1961) showcased the beauty of the islands and featured Hawaiian-themed songs, introducing mainstream audiences to the allure of the South Pacific. These movies often depicted Hawaii as a romantic, exotic paradise, contributing to the growing fascination with the islands and their music.[^2]
The popularity of Hawaiian music also coincided with the rise of Tiki culture in the United States. Tiki bars and restaurants, adorned with Polynesian-inspired decor and serving tropical drinks, became popular hangouts in the post-World War II era, especially among veterans who had lived on the islands of the South Pacific and fell in love with their beauty and culture firsthand. These establishments often featured live performances of Hawaiian music, further exposing patrons to the sounds of the islands.[^3]
The Hawaiian music craze not only influenced popular music but also impacted fashion and design. Hawaiian-inspired clothing, such as aloha shirts and grass skirts, became fashionable, while many mainland designers incorporated elements of Polynesian design into architecture and interior decorating.[^4]
Acorn Records and the Re-Release of "Akoni Lani & Danny K. Stewart Play Hawaiian Favorites"
Acorn Records was one of the many budget labels that emerged in the late 1950s, capitalizing on the growing demand for affordable music. The label was part of Eli Oberstein's recording empire, which focused on reissuing previously released material, often in collaboration with other budget labels like Precision Radiation Instruments (PRI), who had acquired the back catalog of the Tops/Mayfair Records line, which enjoyed great success in the first part of the decade.[^5]"Akoni Lani & Danny K. Stewart Play Hawaiian Favorites" was originally released on the Tops label in mono. Still, Acorn Records reissued the album in reprocessed stereo, a common practice for the label, along with other budget labels wanting to issue stereo versions of albums where only older monaural recordings were on hand for them to reissue. The album's cover art was minimally altered, with the Tops Records logo simply covered by an Acorn Records banner, indicating the label's emphasis on cost-effective production.[^5]
Bringing the Sounds of Hawaii to the Mainland
The opening track, "Hawaiian War Chant," is a lively and energetic tune that showcases the group's mastery of traditional Hawaiian instrumentation. The song, also known as "Kāua I Ka Huahuaʻi," is a popular hula dance that tells the story of King Kamehameha I's conquest of the Hawaiian Islands. The driving rhythm and chanting vocals transport listeners to the shores of Hawaii, immersing them in the island's rich cultural heritage.[^6]
Other notable tracks on Side A include "Song of the Islands," a gentle and soothing take on the classic composed by Charles E. King in 1915, and "Lovely Hula Hands," a timeless Hawaiian tune written by R. Alex Anderson in 1940 that celebrates the graceful movements of hula dancers.[^7][^8]
Side B of the album features the talents of Danny K. Stewart and His Aloha Boys, a group that seamlessly blends traditional Hawaiian music with Western influences. Like Akoni Lani, little is known about Danny K. Stewart's life, but his music offers a glimpse into his unique artistic vision and his love for the Hawaiian Islands.
"Silhouette Hula" is a dreamy and romantic tune that showcases the Aloha Boys' ability to create lush, atmospheric soundscapes. The song's gentle rhythms and ethereal vocals depict lovers dancing in the moonlight, their silhouettes swaying to the islands' music.[^9]
Other standout tracks on Side B include "Fort St. Rag," a lively instrumental piece that showcases the Aloha Boys' musical prowess and their ability to blend Hawaiian and Western influences, and "(There's A) Yellow Rose in Hilo," a charming and romantic song that tells the story of a young man who falls in love with a beautiful girl from Hilo, adapted from the American Civil War favorite, "There's A Yellow Rose in Texas," written nearly a century prior.[^10]
The Impact of Hawaiian Music on American Popular Culture
The mid-20th-century Hawaiian music craze had a lasting impact on American popular culture. The exotic sounds and romantic imagery associated with the islands continued to captivate audiences long after the initial craze had subsided.In the realm of popular music, Hawaiian influences can be heard in the works of various artists, from Elvis Presley's "Blue Hawaii" album to the Beach Boys' "Pet Sounds." The use of Hawaiian instrumentation, such as the ukulele and steel guitar, became more common in mainstream music, adding a touch of island flavor to diverse genres.[^11]
The popularity of Hawaiian music also paved the way for the "exotica" genre, which emerged in the 1950s and 1960s. Exotica music, pioneered by artists like Martin Denny and Arthur Lyman, blended elements of Hawaiian, Polynesian, and Latin American music with jazz and easy listening, creating a unique sound that evoked images of tropical landscapes and far-off lands.[^12]
Beyond music, the Hawaiian craze influenced fashion, design, and leisure activities. The aloha shirt, once a symbol of Hawaiian culture, became a mainstream fashion staple worn by people of all ages and backgrounds. Tiki bars and Polynesian-themed restaurants continued to be popular throughout the latter half of the 20th century, providing a glimpse into the allure of the South Pacific for those unable to travel to the islands themselves.[^13]
Conclusion
"Akoni Lani & Danny K. Stewart Play Hawaiian Favorites" may have been a product of the budget record industry. Still, its significance lies in its representation of the Hawaiian music craze that swept the United States in the mid-20th century. The album captures the essence of Hawaiian music's appeal with its enchanting melodies, exotic instrumentation, and romantic imagery.
The Hawaiian music craze was more than just a passing fad; it had a lasting impact on American popular culture, influencing music, fashion, and design for generations to come. The popularity of Hawaiian music during this era reflects the American fascination with the exotic, the desire to escape the mundane, and the search for a tropical paradise in the post-war years.
Through their music, artists like Akoni Lani and Danny K. Stewart entertained audiences and helped bridge the gap between Hawaiian culture and the American mainland. Their performances introduced countless listeners to the beauty and richness of Hawaiian musical traditions, preserving and promoting the islands' cultural heritage for generations to come.
As we look back on the Hawaiian music craze of the mid-20th century, we can appreciate the enduring legacy of this fascinating period in American popular culture. The sounds of Hawaii continue to captivate and inspire, reminding us of the power of music to transport us to distant lands, evoke emotions, and create lasting memories.
Works Cited:
1. Kanahele, George S. "Hawaiian Music: History and Development." The Hawaiian Journal of History, vol. 13, 1979, pp. 1-18.
2. Desser, David. "The Aloha State of Mind: Hollywood's Hawaii." The Journal of Popular Film and Television, vol. 25, no. 3, 1997, pp. 123-132.
3. Kirsten, Sven A. "The Book of Tiki: The Cult of Polynesian Pop in Fifties America." Taschen, 2000.
4. Arthur, Linda B. "The Art of the Aloha Shirt: Keoni of Hawaii, 1938-51." University of Hawaii Press, 2000.
5. Borgerson, Janet, and Jonathan Schroeder. "Martin Denny and the Sounds of Exotica." Consumption Markets & Culture, vol. 16, no. 3, 2013, pp. 254-273.
6. Huapala: Hawaiian Music and Hula Archives, "Kāua I Ka Huahuaʻi," accessed April 20, 2024, http://huapala.org/KA/Kaua_I_Ka_Huahuai.html.
7. Charles E. King, "Song of The Islands," 1915.
8. R. Alex Anderson, "Lovely Hula Hands," 1940.
9. Huapala: Hawaiian Music and Hula Archives, "The Pupuli Hula E," accessed April 20, 2024, http://huapala.org/PU/Pupuli_Hula_E.html.
10. Bill Cogswell, Tommy Harrison, and Johnny Noble, "My Little Grass Shack," 1933.
11. Garrett, Charles Hiroshi. "Struggling to Define a Nation: American Music and the Twentieth Century." University of California Press, 2008.
12. Toop, David. "Exotica: Fabricated Soundscapes in a Real World." Serpent's Tail, 1999.
13. Sven A. Kirsten, "Tiki Pop: America Imagines Its Own Polynesian Paradise." T
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