Images of Old Hawaiʻi

by Peter T Young Leave a Comment

Ala Moana Beach Park and ʻĀina Moana (Magic Island)

In 1899, the coastal road from Honolulu Harbor to Waikīkī, formerly called the “Beach Road,” was renamed “Ala Moana.”

At the beginning of the twentieth-century, this stretch of coast makai of Ala Moana Boulevard was the site of the Honolulu garbage dump, which burned almost continually.  The residue from burned rubbish was used to reclaim neighboring wetlands (which later were more commonly referred to as “swamp lands.”)

In the 1920s, Kewalo Basin was constructed and by the 1930s was the main berthing area for the sampan fleet and also the site of the tuna cannery, fish auction, shipyard, ice plant, fuel dock and other shore-side facilities.

In 1928, a channel was dredged through the coral reef to connect the Ala Wai Boat Harbor and the Kewalo Basin, so boats could travel between the two.  Part of the dredge material helped to reclaim swampland that was filled in with dredged coral.

When the area became a very popular swimming beach, the channel was closed to boat traffic.

The City and County of Honolulu started cleaning up the Ala Moana area in 1931. They used funds provided by President Franklin Delano Roosevelt’s New Deal Project to create a city park in the Ala Moana area.

Back in the early twentieth century, most playgrounds consisted of large areas of pavement used to get children off of the street and had no aesthetic value.

In 1933, Harry Sims Bent was chosen as the park architect for the City and County of Honolulu.  Bent’s design went beyond the modern level and into the realm of art deco, allowing for play, as well as contact with nature.  His works at Ala Moana include the canal bridge, entrance portals, sports pavilion, banyan courtyard and the lawn bowling green.

President Roosevelt participated in the dedication of the new 76-acre “Moana Park” in 1934 (it was later renamed Ala Moana Park in 1947.)  During his visit to the islands, Roosevelt also planted a kukui tree on the grounds of the ʻIolani Palace.

Ala Moana Park was developed on a swamp and the Honolulu garbage dump.

In the mid-1950s, reef rubble was dredged to fill in the old navigation channel (between Kewalo and the Ala Wai); it was topped with sand brought from Keawaʻula Beach (Yokohama Beach) in Waianae.

At the same time, a new swimming channel was dredged parallel to the new beach, extending 400-feet offshore; in addition, the west end of the fronting channel was closed by a landfill project that was part of the Kewalo Basin State Park project.  A large fringing reef remained off-shore protecting the beach area.

Reportedly, in 1955, Henry Kaiser was the first to propose building two artificial islands and six hotels over the fringing reef.  His proposal included inlets for boats, walkways and bridges. He called it Magic Island and offered to pay the $50-million cost.  (Sigall, Star-Advertiser)

In 1958, a 20-page booklet was sent to Congress to encourage them to turn back Ala Moana Reef to the Territory of Hawaiʻi for the construction of a “Magic Island.”  Local businessmen and firms paid half the cost and the Territory paid half through the Economic Planning & Coordination Authority)   (Dillingham interests were among contributors, Henry J. Kaiser interests were not.)   (Honolulu Record, February 13, 1958)

The booklet puts forth the argument that “Tourist development is our most important immediate potential for economic expansion,” and displays pictures of the crowded Waikiki area to show the lack of room for expansion.  Then it directs the reader’s attention to land that can be reclaimed from the sea by utilizing reefs, especially the 300-acre area of Ala Moana Reef.  (Honolulu Record, February 13, 1958)

It was supposed to be part of a new high scale beachfront resort complex with a half-dozen hotels that would have included two islands built on the fringing reef, offshore of the Ala Moana Park.

The Interest of the Dillingham’s in developing off-shore areas is obvious, since Hawaiian Dredging is the only local company large enough to undertake such sizable dredging operations.

The Dillingham interest in the current “Magic Island” project is more obvious because of the immediate increase in value it would bring to Dillingham land mauka of Ala Moana Boulevard.  (Honolulu Record, February 13, 1958)

The Dillinghams figure to do the dredging and construction of Magic Island, itself, of course, and it must be recalled that the original Dillingham idea was to use Ala Moana Park for hotels and apartments and build the reef island for a park.  (Honolulu Record, May 15, 1958)

But now that Magic Island is being proposed as a hotel and apartment site, it doesn’t mean for a moment the first plan has necessarily been abandoned. There is good reason to fear Ala Moana Park may be wiped out entirely so far as the people of Oahu are concerned if they don’t keep alert and guard” against every effort to encroach upon it.  (Honolulu Record, May 15, 1958)

Substantial changes were made from the more extensive original plan for the Ala Moana reef; rather than multiple islands for several resort hotels built on the reef flat off of the Ala Moana Park, in 1964 a 30-acre peninsula, with “inner” and “outer” beaches for protected swimming, was constructed adjoining the Ala Wai Small Boat Harbor and Ala Wai Canal outlet.

The project stopped after the development of “Magic Island,” leaving the State with a man-made peninsula, which they converted into a public park.

In 1972 the State officially renamed Magic Island to ‘Āina Moana (“land [from the] sea”) to recognize that the park is made from dredged coral fill. The peninsula was turned over the city in a land exchange and is formally known as the ‘Āina Moana Section of Ala Moana Beach Park, but many local residents still call it Magic Island.

Between 1955 and 1976 the beach eroded, and in 1976, more sand was brought in from Mokuleʻia on the north coast of Oʻahu.

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by Peter T Young Leave a Comment

‘Ue o Muite Arukou’

On December 10, 1941, Hiroshi Sakamoto welcomed his ninth child into the world with his second wife Iku. Called Hisashi, the alternate kanji reading of his given name was Kyu (pronounced ‘cue’), meaning nine. He was subsequently given the nickname Kyu-chan.

During World War II, Hisashi and his family were forced to evacuate from Kawasaki and headed to his grandparents’ house in Kasama City, Ibaraki Prefecture.

On the way there, they were riding in a vehicle that collided with a train at Tsuchiura Station and fell into a river resulting in a number of fatalities. Fortunately for the Sakamotos, they had transferred to another vehicle shortly before the accident.

Kyu was just 20 months old at the time, but when told about the incident, he believed the God of Kasama Inari Shrine protected his family.

When his parents divorced in 1956, Kyu and two other siblings adopted their mother’s maiden name, Oshima. The older children kept their father’s surname, Sakamoto.

In 1958, 16-year-old Sakamoto joined The Drifters (then known as Sons of Drifters), but ended up quitting after six months due to in-house fighting. One of the main reasons for this was his dissatisfaction with being the second vocalist.

He then joined his classmate in a band called Danny Iida & Paradise King before going solo. The Drifters, meanwhile, went on to become the most famous rock/comedy group in the country and, in 1966, supported The Beatles at the Budokan.  

Kyu became famous for a song.  First released in Japan in 1961, Sakamoto’s seminal track, “Ue o Muite Arukou” was composed by Hachidai Nakamura with lyrics by Rokusuke Ei.

“Ue o Muite Arukou” became a global phenomenon and in 1965 an instrumental version was played over the radio by NASA for astronauts aboard Gemini 7, on what was the 21st crewed spaceflight.

Down the years it has been covered or sampled in various languages by numerous artists including A Taste of Honey, 4 PM, Selena and Avicii on his posthumous album “Tim.” The original has featured in several movies and dramas such as “M*A*S*H,” “Charlie’s Angels,” “Mad Men” and the Ghibli Film “From Up on Poppy Hill.”

More than just a one-hit-wonder, Sakamoto continued to have a successful career after “Ue o Muite Arukou” as an actor, presenter and more famously as a singer thanks to tracks such as “Ashita ga Arusa” (“There’s Always Tomorrow”) and “Miagete Goran Yoru no Hoshi o” (“Look up at the Stars at Night”).

Though Sakamoto is most well-known as a singer, he also appeared in numerous films including the movie adaption of Higuchi Ichiyo’s famous novel “Takekurabe,” Seijun Suzuki’s “Subete ga Kurutteru” (“Everything Goes Wrong”) and Yoji Yamada’s “Kyu-chan no Dekkai Yume” (“Kyu-chan’s Big Dream”).

In 1965, he provided the voice for lead character Ted in the animated feature, “Gulliver’s Travels Beyond the Moon.” A young Hayao Miyazaki, working as an in-between artist, impressed Toei with his contribution to the end of the animated production.

Wanting to use his fame to help give back to those less fortunate, Sakamoto did a lot of work for charity during his career. In the 1960s, he held a concert to raise money for the Tokyo Paralympics, which was struggling for funding. He was most passionate about supporting children with disabilities, particularly those who were blind or visually impaired.

In 1979, he released “Soshite Omoide,” Japan’s first song in sign language. At that time, sign language was prohibited at deaf schools so people studied it independently.

Tragically, Sakamoto was killed when Japan Airlines Flight 123 crashed in 1985. He was 43 years old. Due to faulty repairs, the plane crashed into a ridge near Mount Osutaka just over 30 minutes into the journey.

All 15 crew and 505 out of 509 passengers died, for a total of 520 deaths and only 4 survivors. It was one of the worst single airline disasters in history.

Oh, Kyu Sakamoto’s famous song “Ue o Muite Arukou”, we know it as ‘Sukiyaki.’  (They named it such as it is easier to pronounce for Americans, and it is a word that people associate with Japan. Sukiyaki is a kind of Japanese dish and has nothing to do with the song.)

The song topped the US pop charts for three weeks in 1963. It is the only Japanese language song to hit #1 in the US. It sold over 13 million copies internationally.  (ThoughtCo)

Here is Kyu Sakamoto and Ue o Muite Arukou, “Sukiyaki:”

During a stop in Hawai‘i, Sakamoto told reporters, “Songs and laughter have a common language all over the world.  I hope to show American audiences what the Japanese younger generation actually is and to let them know the wonderful meaning of the original title of the sukiyaki song.” (Sakamoto, SB, Aug 14, 1963).

“Ue o Muite Arukou,” is a song about loss that translates across languages and cultures. It’s at once sorrowful and hopeful. The light melody bubbles at the surface and sparks joy in listeners.

Yet the lyrics are more bittersweet and sad. It’s a song about loss, love and alienation. And it perfectly captures the mixed emotions listeners may feel in the wake of a loved one’s death.

Although “Ue o Muite Arukou” is a song that any listener can understand on an emotional level, the tune actually has layers of meaning under the surface. For instance, when you first read the song’s lyrics, they appear to be about a young couple falling out of love.

Kyu Sakamoto sings, “Ue o muite arukou” (I look up as I walk); “Namida ga kobore naiyouni” (So the tears won’t fall); “Omoidasu harunohi” (Remembering those happy spring days); “Hitoribotchi no yoru.” (But tonight I’m all alone.)

But the inspiration for the song’s mournful lyrics wasn’t love or the loss of a loved one at all. Lyricist Rokusuke Ei wrote these words in response to political tension and protests in Japan during the 1950s. 

Although WWII had ended, the US still had a strong military presence in Japan, and many Japanese youth felt alienated by this continued military occupation.

Young people in Japan were protesting against the Japanese government’s security treaty with the US.  Yet despite their efforts, the two governments agreed to the Treaty of Mutual Cooperation and Security. (SevenPonds)

Later, the group A Taste of Honey recorded English words to the melody, turning it into a hit for a second time in the 1980s. The English words made popular by A Taste of Honey were not a translation of the Japanese version of the song but probably revived interest in the original Japanese version. (Hawaii Herald) (Lots of information here is from TokyoWeekender.)

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by Peter T Young Leave a Comment

Dreamwood

Lyman Herbert Bigelow came to Hawaii as a civil engineer and construction superintendent in the United States army quartermaster corps in 1911.

Shortly after arrival, he started work in the private sector, then was appointed as Superintendent of Public Works by Gov. Charles McCarthy for a four-year term. He was reappointed by Governors Wallace Farrington and Lawrence Judd.

He was charged with the task of supervising the expenditure of millions of dollars for improvements throughout the Territory.  He held the dual position of superintendent of public works and chairman of the board of harbor commissioners for more than a decade.

“‘Mr. Bigelow had the difficult and important task of beading the City’s Building Department during and following World War II.’”

“‘In directing the City’s tremendous construction program to catch up with the backlog of building needs and to provide the many new facilities needed after the war, he contributed much to the building of present day Honolulu.’”

“‘The City was indeed fortunate to have had a man like Mr. Bigelow in its service during such a critical period. He gave generously of himself to his work and won not only the high respect but warm regard of his associates.’” (Blaisdell, Star Bulletin, June 20, 1966)

He also built his home, Dreamwood, along Kaneohe Bay.  “‘Dreamwood,’ which grew out of a haole koa wilderness, is a ready-made park. There are graceful wrought iron gates guarding the entrance. A private driveway, bordered by palms, crotons and bougainvillea, leads to the three-story Bigelow home.”

“There are six tropical fish ponds, lily pools and fountains on the grounds. Walkways are bordered by orchids. There are secluded

picnic areas.  Three large greenhouses are used to cultivate orchids and rare ferns.  A long pier extends into Kaneohe Bay. It has a boat shed on it.”

“Bigelows’ life-long interest in horticulture has brought rare and unusual plants to ‘Dreamwood.’ His professional skill as an engineer is seen in the intricate pools, walkways, patios and terraces.” (Advertiser, August 11, 1966)

“Dreamwood,. his 2½ acre estate at the end of Waikalua Road on Kaneohe Bay, was a gardener’s showplace which, Mayor Blaisdell said, ‘he shared generously with the community.’”

“In recent months the Bigelows, Kaneohe community leaders and City Councilmen have discussed the possibility of acquiring Dreamwood for public park purposes.”

“The bayfront estate apparently becoming too much to keep up, and Mr Bigelow wanted the tropical property to be enjoyed rather than subdivided.  He and his wife said they would build a smaller home a portion of the Dreamwood estate.”

“An orchid hobbyist for more than 40 years, Mr. Bigelow won his share of prizes. He spent three decades designing, planting and

improving his gardens.”  (Star Bulletin, June 20, 1966)

“Kaneohe Community leaders are proposing that the acre and a half estate with its home and marine peir be purchased and added to an existing City park at the end of Waikalua Road which borders the Bigelow property.”

“The Bigelows are planning to build a small home on the portion of ‘Dreamwood’ property which they have reserved for their own use.” (HnlAdv, Jan 13, 1966)

Other thoughts on future use suggested that the “home could house a restaurant with its operation and menu tailored to a botanical garden setting. The home’s many rooms could be set up to provide breakfast, luncheon or dinner meeting places for groups of under 100 persons.”

“Other portions of the house could be used for music club gatherings, monthly club meetings and art exhibits.  The grounds would be maintained as a park where the public and tourists could enjoy the tropical plantings, orchid and fern houses.” (HnlAdv, Jan 22, 1966)

The City acquisition and park plans did not move forward. “It really is a shame the City can’t acquire more of these.  But in the end it all boils down to the finances of the matter.” (City Council Chairman, Herman Lemke, HnlAdv, Jan 22, 1966)

Following Bigelow’s death, repeated advertisements noted that the 1.47-acre waterfront ‘Dreamwood’ estate was listed for sale for $275,000.

Then, the Dreamwood School was initiated on the site; it was “an experiment in therapeutic learning” offering “a therapeutic educational experience to the drug user who wants to stop and to the school drop-out”.  Star Bulletin, Sep 22, 1970)

“The name is incidental, kept at the request of the owner of Bigelow mansion, which is part of Dreamwood Acres. The name fits.”

“Dr Fred Weaver and the 25 people inside the mansion have a dream they believe can come true. They are creating a school for disenchanted and alienated young to help teach them how to live happily, creatively, constructively, in today’s society while fulfilling their own dreams.”

“Weaver, psychiatrist and adolescent unit chief at Hawaii State Hospital, is acting as consultant to Dreamwood School. … The school’s primary aim is to reintegrate adult and young relationships and satisfy learning needs which the staff feels are often not supplied within the system.”

“‘We have a philosophy that sometimes the system kills initiative,’ Weaver explained. ‘You have to be turned on to learning and we want to make the turn-on natural.’”

“‘’We feel that human values are the most important – feeling good, doing what uou do, being responsible for yourself in your relationships and in what you do.’ Weaver believes that alienation occurs often because adults ‘manipulate or push the young into things.”

“‘The crisis today is too severe to allow us the luxury of treating symptoms, It is time to work on the cause.’” (Star Bulletin, Sep 22, 1970)

Then in 1971, Habilitat “signed a five-year lease with Mrs Lyman Bigelow for her Kaneohe property”.  Habilitat bought the property in 1976 and continues to be the fee owner and operates its programs there.

Vinny Marino founded Habilitat on January 27, 1971 as a long term addiction treatment programs.  “My idea of survival is strength found in the family. Family life is the most important experience in our lives; a good family life does shape character, and is reflected in a person’s attitude about survival. Good family life is hard to find these days; you either have it or you don’t.”

“That’s why Habilitat exists today. Habilitat believes in the family as the basis of survival. Habilitat believes the family unit must be preserved. Habilitat offers positive survival to those who want to learn. Through the family structure at Habilitat, our residents form their values, morals, conscience, and a way of life that will help them survive in this mad, mad, mad, mad world.”

“Very simply, Habilitat is an extended family of individuals who realize they need help to change, and survive without sick dependencies.” (Vinny Marino)

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by Peter T Young Leave a Comment

Oldest Wood Frame Structure in Hawaii

The wood-framed Mission House, built in 1821, was one of the first wood-framed buildings built in Hawai‘i; it is now the oldest in Hawai‘i.  It recently celebrated its 200th birthday.

The frame house stands on the grounds of the Hawaiian Mission Houses Historic Site and Archives, near Kawaiahaʻo Church on the makai side of King Street.

The timbers of Maine white pine were cut and fitted in Boston in 1819 and came around the Horn on the brig Thaddeus with the first mission company in April 1820, arriving first in Kona.  The frame of the house arrived in Honolulu on Christmas morning of that year on board the ship Tartar.

Since the lumber for this New England plan type was actually pre-cut prior to shipment, it could also be considered in a broad sense a very early example of prefabrication.

Architecturally, it has a simple and straight-forward design; the relatively low ceilings, and basement are strong evidence of its New England concept, foreign to the temperate climate of Honolulu.

It has two stories plus a basement and measures about 40-feet in length and 24-feet in width, excluding the kitchen wing (which extends the basic rectangular plan on the right rear (Ewa-makai) by about 20-feet.)  The overall height is just over 23½ feet.

The first floor (which has been altered by both additions and demolition) consists of two rooms across the front.  A smaller room and hall are located behind the front room on the left.  The second floor consists essentially of two large rooms separated by a stair-hall.

The foundation wall is about a foot thick, except on the Waikīkī side where it becomes an average of almost 2-feet (where a now-demolished wing once stood.)

The basement walls are adobe brick set in a mud mortar.  The basement consists of one room on the left (Waikīkī) and a larger space on the right.

Basement access is by an exterior coral stair on both the front and rear and an interior concrete stair leading down from the kitchen.  All walls are plastered, the floors are brick and the ceiling exposed wood.

The Frame House was used as a communal home by many missionary families who shared it with island visitors and boarders.

It served as a residence for various missionaries, including Hiram Bingham, Gerrit Parmele Judd and Elisha Loomis.

In 1904, several contractors were called in to examine the building which was found to be so badly eaten by insects it was considered beyond repair.  After considerable study extensive repairs were undertaken to restore the house to its original appearance.

In 1925, the premises were again inspected and again extensive insect damage was found.  By 1935, the house was completely renovated and restored.

Since 1935, various minor repairs such as repainting and some plastering have been undertaken.

Today the frame house is maintained by the Hawaiian Mission Children’s Society as a memorial to the early missionary effort in the Hawaiian Islands.

Furniture and other articles of the first mission families are displayed in the house, together with photographs of the men and women who lived and worked there.

Guided tours of the house and other parts of the historic site are offered Tuesday through Saturday, starting on the hour every hour from 11 am with the last tour beginning at 3 pm.

Nominal fees include: $20 General; $15 Kama‘aina, Senior Citizens (55+) & Military; $10 and Students (age 6 to College w/ID). Kama‘aina Saturday (last Saturday of the Month) 50% off admission for residents.  (Reservations for groups of 10 or more are required.)

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Sea Bathing

Even the most rudimentary plumbing was unknown before Captain Cook’s arrival. The ancient Hawaiians depended on streams and springs for their water supply, sometimes carrying calabashes of water great distances over rugged terrain. They bathed in streams, mountain pools, ʻauwai (irrigation ditches,) shore pools and the sea.  (Schmitt)

In the late-19th Century, Waikīkī’s shoreline was mostly a day-use beach; overnight accommodations were scarce.  Visitors, usually residents of Honolulu, would arrive via horse-drawn carriage, on horseback or in a canoe.  (White)

“The most popular resort of the people of Oʻahu is the famous Waikīkī … Waikīkī is the seaside and pleasure-resort of the island. … There are a number of private residences, picturesque-looking bungalows and cottages, but all airy, comfortable, and close to the murmuring sea. A beautiful grove of towering coconut-trees adds to the tropical charm of the place.”  (Musick, 1898)

“The sea bathing is simply perfection. The water is never chilly; and yet it is most healthful and invigorating. The bottom is of nice smooth sand, always warm and pleasant to the feet. There is no fear of undertow or of any finny monsters. Not only is it pleasant to bathe here during the day, but moonlight bathing is indulged in. … It is a novelty, worth seeing, if not worth trying.  (Whitney, 1895)

Just as “sea bathing” were gaining popularity on the American and European continents, private bathhouses, like the Long Branch Baths, Ilaniwai Baths and Wright’s Villa, began to appear in Waikīkī.  (White)

“Bath-houses that equal those in Long Branch (New Jersey) are found here, and sea-bathing in January is as pleasant as in July. There is no clearer water, no finer beach, no smoother bottom in any of the many famous watering-places than are found at Waikīkī.”  (Musick, 1898)

Bathhouses served customers with bathing suits and towel rentals, dressing rooms and each access to the beach. Initially, bathhouses served only day-use recreation of visitors, but eventually some of them began to offer overnight rooms.

One of the first of these bathhouses was the “Long Branch Baths,” named after a popular New Jersey resort. This long wooden shed was built near the edge of ‘Āpuakēhau Stream by James Dodd in 1881 at the former residence of Kākuhihewa.  (CulturalSurveys)

“There are now forty two dressing rooms for gentlemen and eighteen boudoirs for ladies. To these accommodations will be added a bathing platform 100-feet along the beach by 80-feet wide and a trapeze and spring board attached. There will also be a restaurant and when the whole is finished we may expect to have occasionally to report aquatic feats of considerable magnitude.”    (Hawaiian Gazette, May 28, 1889)

At that time, the Waikīkī beach area in Ulukou and Kahaloa was dotted with small cottages and some bathing houses. These “bathing houses,” placed strategically near the beach, were places where people could change into their bathing suits, rent towels, and walk directly into the ocean.  (CulturalSurveys)

“At “Long Branch Baths” the bather may find deep water and at a temperature which will surprise him, permitting a two or more, hours enjoyment in plunging and bathing in the pure waters. Here sun and sand baths may be indulged in.”  (Godfrey, 1898)

Dodd, who also ran a livery station, also offered round trip ‘omnibus’ mule-drawn bus service from Honolulu to Waikīkī, which included the use of the Long Branch.

Another attraction was a 200-foot long marine toboggan, where “for a nickel, riders could climb a ladder to the top of the run, mount a ‘star oval board’, zip down the chute and ricochet across the water …, skipping along like a flat pebble.” This toboggan was built on the west side of the bathhouse in 1889 by Jim Sherwood, a later owner of the Long Branch Bathhouse.

“The toboggan itself is a wooden frame with a turn up end upon which the bather reclines and the pleasure is in the swiftness of motion over the chute.  When the bather reaches the water his toboggan skips on the surface for some distance from fifty to one hundred feet in proportion to the momentum acquired in the descent and then he has to swim ashore and propel his toboggan to a landing.”  (Hawaiian Gazette, May 28, 1889)

During the 1870s and 1880s, Honolulu residents in growing numbers went out to enjoy the sea bathing at Waikīkī.  Local writers spoke of it as the Long Branch, Newport, Brighton or Trouville of Hawaiʻi.  (Kuykendall)

In 1875 or earlier, Allen Herbert proprietor of the Hawaiian Hotel in Honolulu, “provided a cottage at the sea-shore at Waikīkī … where guests can go and spend the day, or merely enjoy a morning or evening bath in the ocean.”

Apparently this was only a beach house and not a hotel for overnight accommodation of guests; it is uncertain how long the arrangement continued.  (Kuykendall)

The first hotels in Waikīkī were bathhouses, such as the Long Branch Baths, began to offer rooms for overnight stays in the 1880s.  The first beachside hotel, the Park Beach, was a converted home which offered 10 rooms, each equipped with a bath and telephone.

As time passed, more found their way into the district, at first as visitors to enjoy the beach and the sea bathing, and then as residents, especially when access was made easier by the construction of a road (sometime in the 1860s.)

Toward the end of that decade an omnibus began running to Waikīkī, providing the only public transportation to that resort until the tramcar line reached there at the beginning of 1889. (Kuykendall)

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