Images of Old Hawaiʻi

by Peter T Young Leave a Comment

King of Handcuffs

Erik Weisz was born on March 24, 1874 in Budapest, Hungary. His family soon emigrated to the United States. His name was altered to Ehrich Weiss after his family emigrated from Hungary to Wisconsin when he was 4 years old.

He had several brothers and a sister. When he was only five or six years old he started doing card tricks and in his teens was performing magic for money.  He called himself Ehrich the Prince of Air when he was nine years old.

When he was 13, Weisz moved with his father to New York City, taking on odd jobs and living in a boarding house before the rest of the family joined them.

He won several competitive medals as a member of the Pastime Athletic Club track team in New York. Weiss worked hard to build up his physical stamina.

In 1894, Ehrich decided to start his career as a magician and changed his name to Harry Houdini.  The name pays homage to Jean Eugene Robert-Houdin, the French performer widely considered the father of modern magic.

Adding the “i” followed tradition as well, as this was a common way that magicians invoked the name of the famous 18th century Italian conjurer Pinetti. “Harry,” on the other hand, was merely a pleasantly American twist on “Ehrie,” his boyhood nickname. (PBS)

He married Wilhelmina Beatrice “Bess” Rahner in 1894, and she became his constant companion, ardent supporter and talented co-star in many of his acts. (Pacific Coast Air Museum)

Ferenc Dezső Weisz, Houdini’s younger brother, had performed with his sibling earlier in his career. As the “King of Handcuffs” gained fame, he and his brother, then known as Hardeen, continued to work on illusions, maintaining the belief that the pair were vicious rivals to keep the interest in both of their acts.

As Hardeen once stated, “We made no secret of the fact that we were brothers… but we did keep secret not only the fact that we were good friends but that Harry had set me up in business!” (Ripley’s)

He made a name for himself escaping from handcuffs, securely chained boxes thrown into rivers, straight jackets (while suspended by his ankles), and any number of other incredible situations.

Some may not be aware that another of the passions of Houdini’s life was aviation.  He asked Orville and Wilbur Wright and Glenn Curtiss to sell him a plane but they wouldn’t.

Later in 1909 Houdini went to an air show in Berlin and approached the winner of one of the races. He offered to buy the plane and pay the pilot to teach him to fly. (Pacific Coast Air Museum)

Houdini’s airplane was a Voisin, named after its French designer/builder. It looked more like a box kite than a modern airplane and with good reason. Its design was based on principles worked out years before by an Australian named Lawrence Hargrave who had built the first controllable box kite. Houdini’s Voisin had a pusher engine and performed quite well for its time.

In 1910 the Australians made Houdini an offer he couldn’t refuse: they would pay him generously if he would spend six weeks there flying in public shows. He, his wife, and his ground crew packed up the Voisin, boarded an ocean liner, and set up operations at a place called Digger’s Rest, Victoria, near Melbourne.

Houdini went on the record books as the first person ever to fly an airplane in Australia … powered and sustained and controlled.  Houdini was presented with a trophy for his achievement and was lauded in the press. (Pacific Coast Air Museum)

Houdini flying over Australia:

It was on his way back from Australia that Houdini made a connection to Hawai‘i.  “Houdini, the handcuff king, was a through passenger on the steamship Manuka, fresh from Australia.”

“He was asked by local theatrical managers if he would stop off here, and he relied he would be glad to a series of entertainments – at $1500 per week.”

“The managers gasped and fell dead, metaphorically.  Mr Houdini, it is needless to say, passed on and will give exhibitions in Canada.” (Advertiser, May 26, 1910)

Fortunately John Cox of WildAboutHoudini-com was able to acquire an unpublished image of Houdini and Bess with lei, noted as “Honolulu 1910”.

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by Peter T Young Leave a Comment

Hui Panalāʻau

Part of the equatorial “Line Islands” and “Pacific Remote Islands,” Baker, Howland and Jarvis Islands were first formed as fringing reefs around islands formed by volcanoes (approximately 120-75 million years ago). As the volcanoes subsided, the coral reefs grew upward forming low coral islands.

Howland Island lies 1,650 sea miles to the southwest of Honolulu, and 48 miles north of the equator. It and Baker Island, which lies about 35 miles to the south and a little east, are located northwest of the Phoenix group, and are 1,000 miles west of Jarvis.

There is evidence to suggest that Howland Island was the site of prehistoric settlement, probably in the form of a single community utilizing several adjacent islands. Archaeological sites have been discovered on Manra and Orona, which suggest two distinct groups of settlers, one from eastern Polynesia and one from Micronesia.

US whaling ships first sighted the islands in 1822.  The islands are habitat for birds.  Alfred G Benson and Charles H Judd took formal possession of the islands (as well as Jarvis Island) in 1857 in the name of the American Guano Company of New York (consistent with the Guano Act of August 18, 1856.)

The Guano Act stated that “when any citizen of the United States discovers a guano deposit on any island, rock, or key, not within the lawful jurisdiction of any other government, and takes peaceable possession thereof, and occupies the same island, rock, or key, it appertains to the United States.”

“The Peruvian Government has monopolized the supply of Guano throughout the United States … on account of said monopoly, the Farmers of this country have hithertofore been obliged to pay for said article about $50 a ton … it is the duty of the American Government to assert its sovereignty over any and all barren and uninhabitable guano islands of the ocean which have been or hereafter may be discovered by citizens of the United States …” (American Guano Company Prospectus, 1856)

“This Company own(s) an island in the Pacific Ocean, covered with a deposit of more than two hundred million tons of ammoniated guano and have dispatched a ship, agent, and men, to maintain possession thereof.” (American Guano Company Prospectus, 1856)

Rich guano deposits were mined throughout the later part of the 19th century, however, the guano business gradually disappeared, just before the turn of the century.  Thoughts of and activities on the islands disappeared.

Then, in mid-1930s, the US Bureau of Air Commerce (later known as Department of Commerce) was looking for sites along the air route between Australia and California to support trans-Pacific flight operations (non-stop, trans-Pacific flying was not yet possible, so islands were looked to as potential sites for the construction of intermediate landing areas.)

The United States reasserted its claim to the islands in 1935 (followed by President Franklin D Roosevelt issuing Executive Order 7368 to clarify American sovereignty and jurisdiction over the islands, on May 13, 1936.)

To affirm a claim, international law required non-military occupation of all neutral islands for at least one year.  An American colony was established.

The US Bureau of Air Commerce believed that native Hawaiian men would be best suited for the role as colonizers and they turned to Kamehameha Schools graduates to fill the role.

“They looked for someone that had some Hawaiian background. And that’s why they came to Kamehameha Schools to see if they can get someone from the school to participate because of our descendance as part-Hawaiians, that we would be used to the South Pacific or wherever.”  (James Carroll, colonist)

School administration selected the participants based on various academic, citizenship and ROTC-related criteria, as well as their meeting specified requirements for the job: “The boys have to be grown-up, know how to fish in the native manner, swim excellently and handle a boat, that they be disciplined, friendly, and unattached, that they could stand the rigors of a South Seas existence.”

On March 30, 1935, the United States Coast Guard Cutter Itasca departed in secrecy from Honolulu Harbor with 6 young Hawaiians aboard (all recent graduates of Kamehameha Schools) and 12 furloughed army personnel, whose purpose was to occupy the barren islands of Baker, Howland and Jarvis for 3-months.

“Once you get there, you wish you never got there. You know, you’re on this island just all by yourself and it’s, you know, nothing there at all. Just birds, birds, millions and millions of birds. And you just don’t know what to do with yourself, you know. It takes you a while to adjust to that, but once you adjust to it, it’s fine.”  (Elvin Mattson, colonist)

The American colonists were landed from the Itasca, April 3, 1935. They have built a lighthouse, substantial dwellings and attempt to grow various plants.

Cruises by Coast Guard cutters made provisioning trips approximately every three months to refit and rotate the colonists stationed on each island. Soon plans were put into place to build airfields on the islands and permanent structures were built.

In addition to their basic duties of collecting meteorological data for the government, the colonists kept busy by building and improving their camps, clearing land, growing vegetables, attempting reforestation and collecting scientific data for the Bernice Pauahi Bishop Museum.

In their free time, they would fish, dive, swim, surf/bodysurf, lift weights, box, play football, hunt rats, experiment with bird recipes, play music, sing and find other ways of occupying themselves.

Tragedy struck twice: Carl Kahalewai, a graduate of McKinley High School, died of appendicitis while he was being rushed home for an emergency operation; and on December 8, 1941, when the islands of Howland and Baker were bombed and shelled by the Japanese, Joseph Keliʻihananui and Richard “Dickie” Whaley were killed.

Howland Island played a role in the tragic disappearance of Amelia Earhart and Fred J Noonan during their around-the-world flight in 1937. They left Lae, New Guinea and headed for Howland Island; the Itasca was at Howland Island to guide Earhart to the island once she arrived in the vicinity – they didn’t arrive and were never seen again.  A lighthouse (later a day beacon) was built on Howland Island in Earhart’s honor.

The colonists were removed, following Japanese attacks on the islands in 1942. US military personnel occupied the islands during World War II. The islands have remained unoccupied since that time, but they are visited annually by US Fish and Wildlife personnel because the islands are a National Wildlife Refuge and later part of the Pacific Remote Islands Marine National Monument.

During the 7 years of colonization (1936-1942,) more than 130 young men participated in the project, the majority of whom were Hawaiian; none of the islands were ever used for commercial aviation, but the islands eventually served military purposes.  (Pan American Airways used Canton (Kanton) Island for its trans-Pacific flight flying boat operations.)

As early as 1939, members of previous trips formed a club to “perpetuate the fellowship of Hawaiian youths who have served as colonists on American equatorial islands.” Initially they were called the “Hui Kupu ʻĀina,” which suggests the idea of sprouting, growing and increasing land.

By 1946 the group’s name had changed to “Hui Panalāʻau,” which has been variously translated as “club of settlers of the southern islands,” “holders of the land society” and “society of colonists.” (Lots of information and images here are from Bishop Museum.)  

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by Peter T Young 3 Comments

Arakawas

Established over 100 years ago, “old” Waipahu was once a vibrant, multi-ethnic sugar plantation town whose key corporate element was the Oʻahu Sugar Company.  For over 85 years, Waipahu served as a major commercial center outside of Honolulu.    (Waipahu Community Association)

“In the early days of Waipahu, the parking lot behind Bank of Hawaiʻi was a wetland next to Kapakahi stream.  People who lived near the stream grew rice and watercress and had truck gardens.  All of us kids used to swim in the stream and fish for dojo, funa and goby.”  (Goro Arakawa, Clark)

Another Waipahu institution (unfortunately, now gone) was Arakawas.

Zempan Arakawa, patriarch of the Arakawa (born on August 7, 1885,) came to Hawaiʻi from Okinawa in 1905.  First working at the Oʻahu Sugar Plantation, “Arakawa got to know all the workers and what they needed. He ran errands for them. This understanding proved useful when he went into retail a few years later. He knew his customers.” (Purcell; Sigall)

The real legacy of the Arakawa family began in 1909, when Zempan and Tsuru (Ruth) Arakawa, opened their first store, Arakawa Shoten on Waipahu Street. (Okinawa Association)

In 1912 he moved the store to Depot Road, where it was in the location later taken over by Big Way market.   (Then, in 1955, he opened the 1 1/2-level store.)  (Star-Bulletin)

From humble beginnings of selling kau-kau bags and sewn tabis to Waipahu plantation workers, they expanded their business and turned Arakawas into Hawaiʻi’s best known “everything” store. If you needed to find something – you would find it at Arakawas. (Okinawa Association)

Learning from his experience working on the plantation, where Zempan took orders for sewing and mending work that he did at night, he soon recognized that the sugar workers needed functional and sturdy work clothing, at a price they could afford.  (Kawakami)

By the 1920s, palaka (typically a white plaid pattern over a dark blue background) became very popular.  The Arakawa store specialized in selling palaka fabrics to plantation workers.  They referred to palaka as gobanji, the Japanese term for a plaid or check design.  Apparently, the early immigrants used palaka only as work jackets; they did not wear palaka shirts.  (Kawakami)

When Zempan retired in 1955 his children; sons Kazuo, Takemi, Shigemi and Goro; daughters Leatrice and Joan and their husbands (Sei Kaneshiro and Horace Taba) took over the running of the store.  (In 1959, Zempan Arakawa was recognized as Father of the Year by the Honolulu Chamber of Commerce.  (Sigall))

From the 1920s to the 1960s, Arakawas was the only clothing supply and general merchandise (including food, household goods, etc) store in the area, serving the general population and Waipahu Sugar Mill workforce.  (Environet)

Eighth child, daughter Joan (who attended Wolfe Fashion Design School,) was Arakawas’ Manager of apparel and accessories. She is known for the use of palaka material and apparel that became symbolic of Arakawa.

Fourth son, Shigemi, started out as the Manager/Buyer of the Import and Gift section of Arakawas, Shigemi was often described as a “creative merchandising genius” by his siblings and wholesalers and manufacturers throughout the Pacific Rim.   (Star Advertiser)

He developed the planned chaos concept of retailing that gave the store its special ambiance and was reflected in every Arakawas’ Sunday newspaper ad.  (Star Advertiser)

Every nook and cranny was crammed with merchandise, from clothing and jewelry to hardware, food and even sporting goods.  (Star-Bulletin)

Goro Arakawa, the youngest son of Zempan and Ruth, received a marketing degree from New York University and returned home to work in the family store.  There, he wrote advertising copy that incorporated the sights and sounds of Waipahu (such as the rooster crowing radio commercials.)  (Filipino Chronicle)

Ads ended with, “Arakawa’s – located on historic Depot Road, just below the Sugar mill.”    Goro also came up with catchy slogans like “If you don’t know what you’re looking for, you’ll find it at Arakawa’s” and “Don’t say you can’t find it until you shop at Arakawa’s.”  (Filipino Chronicle)

The 1 1/2-level store was actually the third incarnation of the small plantation store first opened by Zempan. In fact, the reason for the 1 1/2 levels was the one-half level upstairs occupied by the sporting goods. Going to Arakawa’s was like stepping back in time, back to the old sugar plantation days when life in Hawaiʻi seemed simpler and more relaxed.  (Star-Bulletin)

On buying trips around the world, he displayed an uncanny eye for finding things that would catch people’s fancy and sold goods as varied as sculptor Noguchi lamps, tapa-themed dinnerware, mosquito coils, and plastic orchid leis.  (Star Advertiser)

With the gradual decline of the sugar industry, the community’s economic and social vitality slowly began to deteriorate.  The historic town core centered on Waipahu Depot Road was devastated by the closures of the sugar mill and Bigway Market in 1999.  (Waipahu Community Association)

Through the generosity to the communities they served – Arakawas became the symbol of an era in Hawaiʻi’s history that represented hard work, sincerity, honesty and generosity of spirit. (Okinawa Association)

It was a sad day when Arakawas in Waipahu (operating from 1909 to 1995) closed its doors.  Gone was the assortment of colors and sizes of palaka wear, as well as the myriad needs filled by the diversity and depth of the merchandise in the store.

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by Peter T Young Leave a Comment

“Honolulu’s Tropical Jewel”

This CW Dickey-designed structure was once referred to as “Honolulu’s Tropical Jewel.” (TheatresOfHawaii)

No one man has a more central place in Hawaiʻi’s architectural history than Charles William Dickey (1871-1942.) Born of a kamaʻāina family (his maternal grandfather was missionary Rev. William P Alexander,) he grew up on Maui, graduated from MIT in 1895 and practiced architecture in Honolulu from 1895 to 1904 and from 1920 until his death twenty-two years later.  (Neil)

“Previous Waikīkī buildings had divided into two types: the palatial – such as the Moana Hotel and the Castle residence – and the small and informal – such as the beach house of Kamehameha V. … Dickey’s 1936 design for the Waikīkī Theater is an extreme contrast.”

“His problem was to design a 1930s movie palace which would be appropriate to Hawaiʻi. He used the expected art deco with such flair and taste that the theater compares favorably with any of the type … He then made the theater appropriate.”  (Charlot)

Its initial design was based on a building at Chicago’s moderne 1933 and 1934 ‘A Century of Progress International Exposition,’ but in harmony with its island location.

The final tropical moderne design featured a large garden courtyard between the street and auditorium entrance, with lush plants surrounding a large fountain.

Inside, past fresco murals on the walls and ceiling, the atmospheric auditorium was flanked by lush artificial plants with the proscenium in the form of a rainbow, and tall artificial coconut palms on each side.  (TheatresOfHawaii)

No expense was spared in its construction and furnishings.  This was intended to be owner’s (Consolidated Amusement) deluxe flagship theater.

The 1,353-seat Waikīkī Theater opened with great fanfare on August 20, 1936.  “This first-class theatre survived as a single-screen house its entire life.”  (TheatresOfHawaii)   Dickey created an environment as charming and artificial as the image on the screen.  (Charlot)

In 1939, the Waikīkī Theatre was equipped with a Robert Morton theatre organ, which had originally been installed (with a twin console) in the Hawaiʻi Theatre in 1929.  (Peterson)

“No theater in the world has a more picturesque setting than Waikīkī.  Situated on the beach at Waikīkī, it stands on the site where once Hawaiʻi’s royalty played.  The playhouse now becomes a glorious new addition to the beach made famous in song and story.  It is the new center of activity of that district which long been the mecca of travelers from the world over.”  (Honolulu Advertiser; Alder)

“The auditorium is a revelation in theatrical architecture. Spacious, cool, it is acoustically correct in every detail. Perfect hearing and vision are available from every seat of the huge auditorium.”

“One of the most unique ideas in theatre ‘atmosphere’ has been incorporated in the decorations. The ceiling, done in soft blue, becomes a replica of the heavens through special lighting effects.”

“Stars twinkle, soft, fleecy clouds float about, the planets send off their soft light. The Waikīkī theatre is one of the few in the world in which this unusual lighting feature has been installed.”

“Through this lighting the great rainbow that spans the proscenium becomes a soft, misty, fairy arch rivaling in loveliness the great rainbows that arch Hawaiʻi’s skies.”  (Honolulu Advertiser, August 20, 1936; Del Valle)

“Inside the theater, it felt as if you were in a tropical paradise. A full-colored rainbow arched over the curtains that hid the screen. Along the side walls, there were palm trees that reached from floor to ceiling and lush jungle plants, which appeared absolutely real to my child’s eyes.”

“Then, a distinguished gentleman named Ed Sawtelle would appear and sit down at a large organ console, located just below and in front of the stage, and begin a concert that filled the hall with rolling music that vibrated off the walls.”

“About that time, with the house lights dimmed, someone would flip a switch and magical images of moving clouds would be projected onto the arched, midnight-blue ceiling, completing the illusion of having landed in the middle of a tropical jungle on a remote Pacific island.”

“Finally, the curtains would part and the show would start with a short cartoon and the Fox Movietone News. The ‘news’ events shown were about four weeks old by the time they got to Hawaiʻi, but that’s how we would find out what was happening in the world in those pre-television days.”  (Richard Kelley)

After successfully celebrating its first 30+years, and as the multiplex made movie-going more competitive, in 1969 the Waikīkī Theater name was relegated to Waikīkī #3 (following the construction of the Waikīkī #1 & #2 nearby.)

Renovations in the late-60s, and remodeling a decade or so later kept the theater on life support.   An expanded concession area replaced most of the forecourt, the interior decoration was removed and the auditorium draped.

“Imagine how much half an acre on Kalākaua Avenue is worth. By then, Consolidated was paying half a million dollars per year in property taxes – you have to sell a lot of popcorn to cover that.” (Lowell Angell, Theatre Historical Society of America; Hana Hou)

Waikīkī Theater (Waikīkī #3) remained a single screen theatre until it closed in late-November 2002; Waikīkī #1 & #2 closed at the same time.  They demolished all three in 2005 (the demolition started about 9-years ago, today.)

“Over the years, the movie business has changed dramatically. …  Multiplex theaters offer a variety of features almost any time of the day or night. Cartoons are now feature films. The news of the day is seen on one’s TV, laptop or cell phone.”

“The gracious theater usherettes have long since retired and have not been replaced. The guy at the door who takes your ticket is often dressed in a baggy T-shirt and jeans and barely looks up as he says, ’Your film will be shown in theater seven, second on the right.’”  (Richard Kelley)

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by Peter T Young Leave a Comment

California Girl, Wenona

General William Tecumseh Sherman called it “wonderfully realistic and historically reminiscent.” Mark Twain termed it genuine “down to its smallest details.” Even General George Armstrong Custer’s widow endorsed its depiction of her husband’s “Last Stand.” (PBS)

William Frederick Cody (born February 26, 1846, Scott county, Iowa, US, died January 10, 1917, Denver, Colorado) was an American buffalo hunter, US Army scout, Pony Express rider, Indian fighter, actor, and promoter. (Britannica)

In 1883 Cody (aka Buffalo Bill), with the help of producer and partner Nate Salsbury, started producing a theatrical spectacle that became known as Buffalo Bill’s Wild West and Congress of Rough Riders of the World, evolved into an international institution and made him one of the world’s first global celebrities.

For many years Cody performed during the winter and continued scouting for the army in the summer or escorting hunting parties to the West. In the process, the line began to blur even further between the scout William F Cody and the legend and entertainer Buffalo Bill. (Britannica)

The show was a spectacular outdoor entertainment with a cast of hundreds, featuring fancy-shooting, hard-riding cowboys and yelling Indians, along with re-creations of a buffalo hunt, the capture of the Deadwood (South Dakota) stagecoach, and a Pony Express ride. It also had lots of wild animals in the show, including buffalo, elk, deer, bear, and moose.  (LOC)

The show played at Queen Victoria’s Golden Jubilee in 1887 and was staged throughout Europe. In 1893 three million people attended the show during its tenure on the Midway adjacent to the official grounds of the World’s Columbian Exposition in Chicago. By the end of the 19th century, Buffalo Bill was one of the most-recognized persons in the world.

It was wildly popular and one of the most famous acts in his show included a performer known as Annie Oakley. Billed as “Miss Annie Oakley, the Peerless Lady Wing-Shot,” she was one of the show’s star attractions for 16 years, except for a brief period in 1887, when she was with the rival Pawnee Bill’s Frontier Exhibition.

Her real name was Phoebe Anne Oakley Moses, but she was known as “Little Sure Shot” because she had such great aim. At 30 paces Annie Oakley could fire a gun and hit the edge of a playing card or the end of a cigarette held in the lips of her husband, Frank Butler.

Lesser known, was Lillian Frances Smith, the daughter of a white Quaker couple from New England.  The so-called “California Girl” was a darling of Buffalo Bill’s 1886-1887 Wild West Show.

One was at a loss, exclaimed one observer of the show in New York, whether “Miss Lillian Smith, Miss Annie Oakley, Johnnie Butler, the ‘Kid’ [cowboy Jim Willoughby], or Buffalo Bill himself” deserved the highest praise for marksmanship.

As soon as Smith joined the show in April of 1886, Oakley shaved 12 years off her own birth date, insecure about the talented young teen stealing the spotlight. And Smith did not waste any time getting on Oakley’s nerves, bragging that the latter was “done for,” once the public had seen “her own self shoot.” (Smithsonian)

Annie Oakley had made her name besting male sharpshooters, and Smith represented her first female rival. The two women were experts in different weapons – Oakley favored the shotgun, while Smith preferred the rifle.

Smith spoke coarsely and wore flashy clothing, both qualities anathema to the more conservative Oakley. In addition to these other shortcomings in Oakley’s eyes, Smith was apparently a shameless flirt. Smith was also younger, and that may have threatened Oakley. (PBS)

In 1897, Smith met Charles “Frank” Hafley, sheriff of Tulare County, at a gallery in Visalia the following year. He was an extraordinary sharpshooter in his own right, and a very competent equestrian.

The two may not have ever legally married; they traveled to the East Coast to perform at the 1901 World’s Fair, and to the Jamestown Exhibition in Virginia in 1904. The pair even created their own program called “California Frank’s Wild West,” and started an Indian curio business on the side (Smith created her own brand of tomahawks).

In 1899, Frank and Lillian came to Hawaii as a sharpshooting act (Frank adopted her surname). “The first appearance of the new arrivals was awaited with much interest, and they proved to be all that had been claimed for them. Frank C and Lillian F Smith did marvelous work in scientific shooting with rifle and pistol.” (Hawaiian Star, Dec 8, 1899)

In addition to public performances, descendants also say Lillian and Frank were hired by Lili‘uokalani to teach marines how to fire Smith & Wesson firearms (possibly one reason why Frank adopted Lillian’s surname).  (Bricklin)

The two female shooting stars did meet once more, both competing in the 1902 Grand American Handicap. Oakley out shot Smith that day, and then they went their separate directions, Oakley upward and onward into general acclaim, and Smith down into obscurity. (PBS)

Lillian later adopted a ‘faux’ Sioux persona as Wenona.  “Her “Indianness” helped differentiate her among other Wild West stars, but her costuming was also practical.”

“Wenona’s costume often included a fully fringed, suede tunic with intricate beadwork and a fantastic feathered headdress, which she wore even while shooting moving objects while astride a galloping horse. … Wenona retired from show business in 1925 or thereabouts.” (Smithsonian)

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