Images of Old Hawaiʻi

by Peter T Young Leave a Comment

Kūpikipikiʻō

An eruption from a vent southeast of Lēʻahi (Diamond Head) poured dense lava into the sea to build a headland. The Hawaiians called it Kūpikipikiʻō (rough (sea) or agitated (wind or storm)) because of its turbulent waters.

The waves attack the headland directly, but the shore on either side of it is protected by a reef. (MacDonald)  The black lava that formed there prompted its modern name, Black Point.

When Kamehameha and his warriors made their attack in Oʻahu in 1795, they landed from Waikīkī to Maunalua – right in this area.  More than 100-years later, around 1901, one of Black Point’s first houses was built by developer Fred Harrison.  (Star-Bulletin)

In January 1905, President Teddy Roosevelt instructed Secretary of War William H. Taft to convene the National Coast Defense Board (Taft Board) “to consider and report upon the coast defenses of the United States and the insular possessions (including Hawai‘i.)”

Based on recommendation of the Secretary of War, on January 18, 1906, President Teddy Roosevelt signed Executive Order 395-A, setting aside public lands at Kūpikipikiʻo Point for military purposes.

“From Kūpikipikiʻo Point to Waipiʻo Peninsula the line of defense is to be strengthened with field fortifications, batteries and searchlights, and as soon as the money becomes available the dirt will begin to fly and the concrete to take form, under the supervision of the army engineers.”  (Star-Bulletin, February 4, 1914)

Fort Ruger Military Reservation was established at Lēʻahi in 1906.  The Reservation was named in honor of Major General Thomas H Ruger, who served from 1871 to 1876 as the superintendent of the United States Military Academy at West Point.

The fort included Battery Harlow (1910-1943); Battery Birkhimer (1916-1943); Battery Granger Adams (1935-1946); Battery Dodge (1915-1925); Battery Mills (1916-1925); Battery 407 (1944); Battery Hulings (1915-1925) and Battery Ruger (1937-1943.)

Battery Mills was built on a 3-acre tract in the Kūpikipikiʻo Point Reservation.   Battery Mills was not technically part of Fort Ruger, but was administered by it.  The battery was armed with two 5-inch Seacoast guns.

There was a reinforced magazine for munitions, a plotting room/command bunker and an underground power room which had a generator. Those guns were later eliminated from the Army’s inventory, so the Battery was decommissioned.

Battery Granger Adams (1933 and 1935) replaced Battery Mills and consisted of two 8-inch railway guns on either side of a protected powder and shell magazine, along with a Commander’s Station and power room (it was felt that there was still a need for a gun battery at that location – it was later decommissioned in 1946.)

The conclusion of World War II and the advent of nuclear and missile warfare made the coastal batteries obsolete. Thus, in December 1955 the majority of the land was turned over to the State of Hawai‘i.

Nearby Kaʻalāwai Beach lies at the base of Diamond Head’s eastern slope, between Kuilei Cliff Beach Park (“lei stringing”) to the west and Black Point to the east.

Kaʻalāwai (“the watery rock”) is a narrow, white-sand beach with a shallow reef offshore, which makes for generally poor swimming conditions. There are only a few scattered pockets of sand on the nearshore ocean bottom.

Freshwater bubbles up between the rocks of the reef. The beach is mainly used by surfers, who paddle out to the surf spot called Brown’s, which is located just behind the reef.

An old Beach Road fronted the Kaʻalāwai oceanfront properties.  In 1959, owners of the abutting properties claimed the ownership of the old beach road; after a series of lawsuits, many of them obtained declaratory judgments which allowed them to buy the road right-of-way.

At the east end of the beach near Black Point is Shangri-La, a mansion turned museum, built by Doris Duke, the daughter of James Buchanan Duke, the founder of the American Tobacco Company, and her husband, James Cromwell, in 1937.

Upon her father’s death, Doris Duke received large bequests from her father’s will when she turned 21, 25, and 30; she was sometimes referred to as the “world’s richest girl.”

In the late 1930s, Doris Duke built her Honolulu home, Shangri La, on 5-acres overlooking the Pacific Ocean and Diamond Head.  Shangri La incorporates architectural features from the Islamic world and houses Duke’s extensive collection of Islamic art, which she assembled for nearly 60 years.

Today, Shangri La is open for guided, small group tours and educational programs. In partnership with the Doris Duke Foundation for Islamic Art – which owns and supports Shangri La – the Honolulu Museum of Art serves as the orientation center for Shangri La tours.

To get to Kaʻalāwai Beach and Cromwell’s Cove take Diamond Head Road east and turn right on Kulamanu Street and park curbside.  The beach access is at the end of Kulamanu Place.

A later building boom by the wealthy turned Black Point into one of the world’s most exclusive and expensive community.

© 2023 Hoʻokuleana LLC

by Peter T Young Leave a Comment

Surfing – Hawaiʻi’s Gift to the World of Sports

It is not clear where and when surfing began, there is no doubt that over the centuries the ancient sport of “heʻe nalu” (wave sliding) was perfected, if not invented, by the kings and queens of Hawai’i, long before the 15th century AD.

“Surf-riding was one of the most exciting and noble sports known to the Hawaiians, practiced equally by king, chief and commoner. It is still to some extent engaged in, though not as formerly, when it was not uncommon for a whole community, including both sexes, and all ages, to sport and frolic in the ocean the livelong day.”  (Malo)

By 1779, riding waves lying down or standing on long, hardwood surfboards was an integral part of Hawaiian culture. Surfboard riding was as layered into the society, religion and myth of the islands as baseball is to the modern United States.

Chiefs demonstrated their mastery by their skill in the surf and commoners made themselves famous (and infamous) by the way they handled themselves in the ocean.

When Captain Cook arrived in Hawai’i, surfing was deeply rooted in many centuries of Hawaiian legend and culture. Place names had been bestowed because of legendary surfing incidents.  The kahuna intoned special chants to christen new surfboards, to bring the surf up and to give courage to the men and women who challenged the big waves.

Hawaiian society was distinctly stratified into royal and common classes, and these taboos extended into the surf zone. There were reefs and beaches where the chiefs surfed and reefs and beaches where the commoners surfed.

Lieutenant James King, commander of the Discovery, 1779, recorded in the ship’s log the first written description of Hawaiian surfing by a European: “But a diversion the most common is upon the Water, where there is a very great Sea, and surf breaking on the Shore.”

“The Men sometimes 20 or 30 go without the Swell of the Surf, & lay themselves flat upon an oval piece of plan about their Size and breadth, they keep their legs close on top of it, & their Arms are us’d to guide the plank, thye wait the time of the greatest Swell that sets on Shore …”

“… & altogether push forward with their Arms to keep on its top, it sends them in with a most astonishing Velocity, & the great art is to guide the plan so as always to keep it in a proper direction on the top of the Swell, & as it alters its direct.”

“The surf-riders, having reached the belt of water outside of the surf, the region where the rollers began to make head, awaited the incoming of a wave, in preparation for which they got their boards under way by paddling with their hands until such time as the swelling wave began to lift and urge them forward.”  (Malo)

 “(T)hey resorted to the favorite amusement of all classes – sporting on the surf, in which they distinguish themselves from most other nations. In this exercise, they generally avail themselves of the surf-board, an instrument manufactured by themselves for the purpose.”  (Bingham)

“The inhabitants of these islands, both male and female, are distinguished by their fondness for the water, their powers of diving and swimming, and the dexterity and ease with which they manage themselves, their surf-boards and canoes, in that element.”  (Bingham)

Missionary Amos Cooke, who arrived in Hawaiʻi in 1837 – and was later appointed by King Kamehameha III to teach the young royalty in the Chief’s Childrens’ School – surfed himself (with his sons) and enjoyed going to the beach in the afternoon.  “After dinner Auhea went with me, & the boys to bathe in the sea, & I tried riding on the surf.  To day I have felt quite lame from it.”  (Cooke)

Mark Twain sailed to the Hawaiian Islands and tried surfing, describing his 1866 experience in his book Roughing It. “I tried surf-bathing once, subsequently, but made a failure of it. I got the board placed right, and at the right moment, too; but missed the connection myself.—The board struck the shore in three quarters of a second, without any cargo, and I struck the bottom about the same time, with a couple of barrels of water in me.”

Duke Kahanamoku is credited as the ‘Father of Modern Surfing’ and through his many travels, Duke introduced surfing to the rest of the world and was regarded as the father of international surfing.  On one trip to Australia in 1914-15, Kahanamoku demonstrated surfing and made such an impression that the Australians erected a statue of him.  (Nendel)

Duke was named after his father, who was named Duke after the Duke of Edinburgh who visited Hawaii in 1869 – in 1920, Duke took Prince Edward surfing at Waikīkī.

Today, surfing is thought of as a lifestyle in Hawaiʻi, it is part of the local culture. As an island state, the shore is the beginning of our relationship with the ocean – not the edge of the state line.  Surfing expands our horizon, refreshes, rejuvenates and gives hope. It has helped people find harmony in one’s self and the vast ocean. (Hawaiʻi Quarter Design)

As former Hawai’i State governor, George Ariyoshi, stated, “Those of us fortunate to live in Hawai’i are extremely proud of our state and its many contributions to the world. Surfing certainly is one of those contributions.”

“It is a sport enjoyed by men, women and children in nearly every country bordering an ocean. Surfing was born in Hawai’i and truly has become Hawaiʻi’s gift to the world of sports.”

Missionary Hiram Bingham, noted (rather poetically,) “On a calm and bright summer’s day, the wide ocean and foaming surf … the green tufts of elegant fronds on the tall cocoanut trunks, nodding and waving, like graceful plumes, in the refreshing breeze …”

“… the natives … riding more rapidly and proudly on their surf-boards, on the front of foaming surges … give life and interest to the scenery.”

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by Peter T Young Leave a Comment

Honolulu Harbor in the Early Years of Young Brothers

In January 1900, Herb and Will Young started Young Brothers. They purchased a small launch, the Billy, and made a business running lines for the ships, delivering foodstuffs to the crews, and ferrying passengers. They were joined in October by their younger brother, Jack Young.

“Honolulu, which for so many years had served sailing vessels with rowboats and native canoes, was quick to take up the power launch, and we went in and out of the harbor with passengers, meat, mail and the Customs men.”

“The Honolulu waterfront of thirty years ago was known throughout the Pacific. Ships from around the Horn were loaded with general merchandise, railroad and sugar mill supplies; the vessels from California had live stock on the decks and were full of farm produce from the Coast; ships from Newcastle, Australia, held cargoes of coal for the sugar plantations.”

“Here they would discharge their cargoes, and take full loads of sugar for California, or around the Horn to Delaware Water Gap.”

“The finest ships afloat came into Honolulu, everything from the trimmest bark to the full-rigged ships. There were not enough loading wharves for them all, and many were forced to anchor in Rotten Row inside the harbor until their turn came.”

“Sailors coming ashore always had a payroll. They went to live in boarding houses until putting out to sea again, and invariably demanded and got advance wages, always spent before they left.”

“The town, of perhaps ten thousand, was always active. Rum and gin and whiskey flowed freely. Native liquors were as popular with many as whole shiploads of gin from Holland.”

“Kanaka women could drink the gin down just like water, and frequently did. The square-bodied gin bottle was as well known on the waterfront wharves as the brown-skinned Kanakas, and cases of gin would be stacked as high as the wharf roofs.”

“The boarding-house men saw to it that sailors were kept supplied with liquor, so that by the time their shore leave was up a fine bill held them ashore as hostages. Captains cordially hated the boarding-house keepers, for when sailing time came, blood money at so much per head was the only sure way to retrieve their sailors, drunk or sober.”

“Our tug, loaded with outward bound crews, made short work of delivering its hilarious cargo to the ships, where, in a few hours, the men would wake with big heads. But a fair wind soon blew the cobwebs out of their brains.”

“Young Brothers’ Boathouse, where we lived, near the harbor entrance, was the center of information along the waterfront. From this point of vantage, everything going in or out, or approaching, was seen by those of us on duty at the Boathouse.”

“Two or three launchmen and a couple of deckhands were sure to be found about the place besides ourselves, and we were on twenty-four-hour service with the Customs people and Immigration Service.”

“In front were moored our boats, the Fun, the Billy, the Brothers and the Huki Huki. Alongside was warped the Water Witch, a fifty-footer used for Customs work. This boat, brought down by Archie Young, for whom we went to work at first on Oahu, is still in service after thirty-two strenuous years.”

“Before the advent of radio, it was our six-inch telescope atop the lookout on the Boathouse which kept the harbor informed of incoming steamers as far away as Pearl Harbor.”

“From the first, our telephone was constantly ringing; the newspapers, hotel guests, Customs men, wanting information of every sort.”

“While we were carrying on our various waterfront activities, delivering supplies to all ships at anchor every day we had an opportunity of making friends with all the captains who came to Honolulu, and slowly became a part of the life of the harbor.”

Then, “A change had come over the firm of Young Brothers”.

“Herb, independent and capable, had been involved in so many differences of opinion that he found it best suited to his own interests and those of the business to get out. He went to California, becoming associated with the growing tuna fishing industry around San Diego, where he was captain of the big power schooner Elsinore for eight or ten years.”

“Honolulu by this time was no longer the town of our early days, and Big Business was making itself felt even in the towboat business.”

“Young Brothers was incorporated [1913], and for the first time someone outside the family directed activities. As there seemed to be no immediate need for me among my old associates, I began to cast about for an opportunity to realize my hopes that shark hides could be made commercially useful.”

Will preferred to pursue his fascination with sharks and eventually left the islands for good in 1921 to become a well-known international shark hunter.

William left Young Brothers in the hands of Jack, the last founding member of the company to remain in Hawai‘i. (Lots of information here is from William Young’s book Shark Shark, Young Brothers: 100 Years of Service, and a Young family background and genealogy.)

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by Peter T Young Leave a Comment

Kaulana Nā Pua

The “King’s Band” (later known as the Royal Hawaiian Band) had its beginning in 1836; it continues today.  Founded by King Kamehameha III, it became a part of daily life by performing for the public, state occasions, funerals and marching in parades.

The band accompanied reigning monarchs of the time on frequent trips to the neighbor islands and brought their music to remote destinations of the kingdom, such as the Hansen’s Disease settlement at Kalaupapa on the island of Molokai.

“The King’s Band” members in 1848 signed contracts to serve in the band, noting they “agree to serve under the orders of William Merseburgh, the captain appointed by His Majesty … (and) to meet from time to time for the purpose of practicing and improvement in instrumental music.”

“We agree to play for the king and for the other officers of the government whenever called on by our captain for such reasonable compensation as he shall award, not less than one dollar nor more than three dollars per man for any time not to exceed one day.”  (Hawaiian Star, September 22, 1906)

In the 1880s, the Royal Hawaiian Band played concerts twice a week in Queen Emma Square.

“One of our pleasant diversions was to go to and hear Captain Berger’s band play at Emma Square every Saturday afternoon.  … we all went and sat in the carriage just outside the park.  There was usually a crowd there, as it was very popular.”  (Sutherland Journal)

After the 1893 overthrow of Queen Lili’uokalani, the Provisional Government under Sanford B Dole demanded a loyalty oath of all employees, including the musicians of the Royal Hawaiian Band.

Under a revised name, ‘Government Band,’ the musicians refused to do so; the striking bandsmen persuaded Ellen Kekoaohiwaikalani Wright Prendergast, a friend of Liliʻuokalani, to capture their feelings of anguish and pain in a song.  (Nordyke, HJH)

She composed Kaulana Na Pua o Hawaii, also known as Kaulana Na Pua (“Famous are the Flowers (Children.)”)

Click HERE for a rendition of Kaulana Nā Pua by Makaha Sons.

The band was told they would end up eating rocks if they didn’t swear allegiance, a threat that inspired one of the song’s verses: “Ua lawa makou i ka pōhaku, I ka ai kamahao o ka ʻāina,” which translates, “We are satisfied with the rocks, The wondrous food of the land” (also giving the song the name Mele Ai Pōhaku: The Stone Eating Song.)

The song is rich in kaona, hidden meanings, and its sweet melody belies the passions embedded in it. The band members then organized into the “Pana Lāhui Hawaiʻi”, “The Hawaiian National Band”, which under the leadership of José Liborno went to the United States to drum up support for the Queen and for Hawaiʻi’s continuing independence. (RoyalHawaiianBand)

The “Mele Aloha ʻĀina” song first appeared in Hawaiʻi Holomua on March 25, 1893, under the title “He Inoa No Na Keiki O Ka Bana Lahui” (A Namesong for the Children of the National Band).  (Stillman, HJH)

The credit line in the May 12, 1893 printing of the lyrics for “Kaulana Na Pua” also contains a date: February 10, 1893, barely one month after the overthrow of the monarchy.  (Stillman, HJH)

The song was sung on February 1, 1894, the royalist anniversary of the resignation of Royal Hawaiian Band members who had relinquished their jobs rather than sign an oath of loyalty to the Republic of Hawaiʻi. (Nordyke, HJH)

The lyrics mention four sacred chiefs that represent the major islands of the Hawaiian chain: Keawe of the Big Island of Hawaiʻi, Piʻilani of Maui, Mano of Kauaʻi and Kākuhihewa of Oʻahu. The words are treated with a spiritual tone of reverence and respect.  (Nordyke, HJH)

“Kaulana Na Pua” serves as a voice for the native Hawaiians in their protest against loss of self-determination and sovereignty. The powerful and reverent song symbolizes a pride of culture and a plea for understanding.  (Nordyke, HJH)

Today, the Royal Hawaiian Band is an agency of the City and County of Honolulu and is the only full-time municipal band in the United States.

The band performs and marches in concerts and parades each year including: city, state, and military functions; schools, community centers, shopping malls, retirement communities, graduations, and private events.

© 2023 Hoʻokuleana LLC

 

by Peter T Young Leave a Comment

Shoreline Certifications – Some Interesting Issues

In prior posts, I previously discussed some aspects of shorelines and their impact on shoreline access and shoreline hardening (i.e. seawalls and revetments.)
 
Today, I want to bring up an interesting quirk about shoreline certifications – the impact of ancient fishponds and other artificial structures on certifying where a “shoreline” should be.
 
Remember, shorelines are “certified” for County setback purposes; they do not determine ownership. They serve as points of reference in determining where improvements may be placed on coastal property.
 
When the State surveyor is satisfied with the location of the shoreline, after reviewing the public comments, the maps and photos prepared by the private surveyor and site inspection, he forwards the shoreline maps to the Chairperson of DLNR, for final review and approval.
 
When I was Chair at DLNR, I signed each of the maps and certified the shorelines.
 
Certified shorelines also serve as managerial and jurisdictional dividing lines. Issues mauka of the certified shoreline fall under the County jurisdiction (zoning, SMA and setback regulations;) lands makai of the line are under control of the State (and are automatically “conservation”.)
 
Consistent with the overarching purpose behind shoreline certifications, certified shorelines sometimes deviate from the CZMA definition (HRS §205A-1) of “shoreline.”
 
Example where “shoreline” is makai of boundary line: State law (HRS §205A-42(a)) provides that where legally constructed artificial structures are involved, the shoreline is certified not at the upper reaches of the wash of the waves, but, instead at the “interface between the shoreline and the structure,” i.e., at the seaward edge of the artificial structure.
 
“Artificial structures” include such things as seawalls, piers, boat ramps, groins, revetments and harbor facilities. When such structures are placed on state lands with the State’s permission and consent, but are for private use, the State charges the private user for the use of state lands.
 
Thus, even though the certified shoreline may be makai of the artificial structure, the State’s property boundary, as acknowledged by the State and the private user, is somewhere mauka of the certified shoreline.
 
Example where “shoreline” is mauka of boundary line: On the other end of the spectrum, the lands makai of the upper reaches of the wash of the waves are not always the property of the State.
 
Some coastal fishponds, although on submerged lands makai of the upper reaches of the wash of the waves, are privately owned. Nevertheless, the certified shoreline is at the natural shore and not the artificial wall of the fishpond.
 
Hawai’i Administrative Rule §13-222-16(7) states: “Where an artificial wall seaward of the natural shore is used to create a fishpond, the shoreline shall be at the natural shore and not at the artificial outer wall.”
 
That is because the existence of a coastal fishpond does not alter the rationale for not allowing developments too close to the coast. In these cases, therefore, the certified shoreline is mauka of the property boundary line.
 
To illustrate this, I am using a Google Earth image of the coastal area from our old neighborhood on Kaneohe Bay, where I grew up as a kid. There is a former fishpond fronting some of the lots.
 
In the image, the parcel boundaries are shown; note the boundary line (blue arrow) of the parcels goes out to the end of the seawall of the old fishpond.
 
The “shoreline” in this case, would be along the coast (white arrow,) rather than at the fishpond wall.
 
(BTW, this image also shows the two properties that I grew up in on Kaneohe Bay; both houses that I grew up in have been replaced.)