Images of Old Hawaiʻi

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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by Peter T Young 2 Comments

Morgan’s Corner

An urban legend, urban myth, urban tale or contemporary legend, is a form of modern folklore consisting of stories that may or may not have been believed by their tellers to be true.

As with all folklore and mythology, the designation suggests nothing about the story’s genuineness, but merely that it is in circulation, exhibits variation over time and carries some significance that motivates the community in preserving and propagating it.

For one, the scenarios are the same:
  •  A couple parks on a dark, isolated road (or a Lover’s Lane)
  •  The car won’t start
  •  The girlfriend gets spooked
  •  The boyfriend says he’ll go get help
  •  He tells her not to go out, no matter what
  •  He doesn’t return
  •  There’s a strange scratching or tapping sound on the car roof
  •  Finally, the Police help her out, but tells her not to look back
  •  The boy is hanging from the tree

Sound familiar?

It’s the basis for the “Morgan’s Corner” spooky story at the Pali.  It’s also the foundation for similar stories across the country.  It may have some basis of fact some place, but no records indicate this ever happening here in Hawaiʻi.

Having said that, reportedly, some UH folks went to the reputed Morgan’s Corner on the Windward side of Old Pali Road and “took photographs looking up into the tree, and when the film was developed, the seventh frame contained a large white object.”

“The photographer, 10 witnesses and the chemical laboratory that analyzed the image for processing errors vouched for the image’s authenticity. … it appeared to be a body hanging from the tree, photographed from below.”  (Burlingame)

Hmmm.

Wait … there really is a ‘Morgan’s Corner’ (well, sort of.)  And, a murder did happen there; and, it’s on the Old Pali Road (on the town side of the Pali.)

This story ended with a change in a significant law in the Islands.

It happened at the “S” turn on Nuʻuanu Pali Drive.  Dr Morgan lived on the mauka side of the road – but the story is not about him.

Across the street, at 3939 Pali Road (now known as Nuʻuanu Pali Drive – where a condo project now sits, just above the small waterfall) lived Mrs Therese Adele Wilder (widow of William Chauncey “Chan” Wilder.)  That’s where this story took place.

On March 11, 1948, inmates James Majors (21) and John Palakiko (19) escaped from a prison work crew.  They made their way to Nuʻuanu and, looking for food, they came across – and into – Wilder’s home.

Wilder, in her late-60s, was attacked – she died.

“Her hands were bound, she was gagged, and there were traces of what appeared to be dried blood about her nose and mouth. There was evidence of a blow on the head, but (her physician) said that she might have died from suffocation brought about by the gag which the intruders forced into her mouth.”  (Honolulu Star-Bulletin, March 16, 1948)

Majors and Palakiko were charged.  There was public hysteria, irate community leaders, newspaper calls for “swift justice” and, later, confessions from the two.

Both men were convicted and sentenced to hang.

So, what about the significant law change?

Between August 18, 1897 and September 16, 1943, 47 people were executed at Oʻahu Prison under Hawai‘i’s capital punishment law.  All were male.

They ranged in age from 19 to 61. One was Caucasian, 3 were Hawaiian, 24 were Filipino, 10 were Japanese, 6 were Korean and 3 were Puerto Rican.  (hawaii-edu)

The last recorded execution in Hawai‘i had occurred on January 7, 1944.

With respect to the Majors-Palakiko case, while Honolulu attorney Harriet Bouslog had not represented the men at trial she had followed it closely.

On the eve of the scheduled execution, she swiftly took up the death-row appeals after being challenged by a friend at a dinner party: “I’ll bet you can’t do anything about it.”

She convinced Territorial Governor, Oren E Long, to grant a brief stay of execution. Even after “the lengthiest hearing in the history” of the Territorial Supreme Court, Bouslog failed to obtain relief.

She immediately filed an appeal and requested a stay of execution. … It was 4 am. The prisoners were being given last rites.

Appeals to the federal Court of Appeals and to the United States Supreme Court followed without success.  (hawaii-edu)

However, the lengthy legal process enabled a groundswell of public support for the two to develop, especially when folks learned of claims of police brutality and forced confessions.

In 1954, new governor, Samuel W King, granted a commutation of both sentences to life in prison.

Following this, the legislature passed House Bill 706 on June 4, 1957.  It called for revising the law relating to capital punishment by providing “a sentence of imprisonment at hard labor for life not subject to parole.”

Governor King signed it the following day, thus abolishing the death penalty in Hawaiʻi.

Then, in 1962, Governor John Burns pardoned the men (after their executions had been stayed five times.)

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by Peter T Young Leave a Comment

Forest Birds

“When the birds disappear, so do their Hawaiian names. This means that as bird sounds are silenced, the chants that transmitted their names and associated stories also disappear.”  (Sault)

Around six million years ago, a small ancient species of finch found its way to the most remote archipelago in the world. Over 2,000 miles from the nearest major land source, and uninhabited by humans or any other mammals, the small islands of Hawaii were a blank canvas just waiting to be filled with a brand new family of birds – the Hawaiian Honeycreepers. (FWS)

For millions of years, the birds thrived on the tiny islands in the Pacific. There were no mammals, no humans, few other species to compete with, and a great diversity of habitats. The first Honeycreepers arrived on ancient islands that have since eroded away.

As each new island in the chain rose from the sea and cooled the tiny birds colonized it, splitting off into dozens of new subspecies along the way. Each split in the family tree yielded more complexity and novel ways to find food, attract a mate, and fill an ecological niche. (FWS)

Unfortunately, all of this diversity can also be a limitation if the habitat or the environment changes.  “A lot of the very specialized birds that had the most unique characteristics were the first to go extinct once the habitat started changing,” said Steve Kendall, Wildlife Biologist for Hakalau Forest National Wildlife Refuge. (FWS)

In the early 1800s naturalists describe flocks of ‘i‘iwi flying up and down the mountain slopes of the Hawaiian Islands foraging on nectar and insects. Their long curved bill matches the size and shape of the flowers of the lobeliad family.

Lobeliads were once found all over the islands, but like so many of Hawaii’s native species, those plants have become scarce. To survive, the ‘i’iwi has had to turn to another iconic Hawaiian species for their survival – the ʻōhiʻa lehua. (FWS)

But habitat change was not their only threat.

“The beautiful red birds, iiwi and akakani (apapani), and the birds of glorious yellow feathers, the oo and the mamo, were a joy to both eye and ear and found high places in Hawaiian legend and story, and all gave their most beautiful feathers for the cloaks and helmets of the chiefs.” (Westerfelt)

When Cook anchored off Waimea, Kauai, in 1778, he and his officers at once noticed the feather robes and helmets.  The account is as follows:

“Amongst the articles which they brought to barter this day (January 21, 1778) we could not help taking notice of a particular sort of cloak and cap, which, even in countries where dress is more particularly attended to, might be reckoned elegant.”

“The first are nearly of the size and shape of the short cloaks worn by the women in England, and by the men of Spain, reaching to the middle of the back and tied loosely before.”

“The ground of them is a net-work, upon which the most beautiful red and yellow feathers are so closely fixed, that the surface might be compared to the thickest and richest velvet, which they resemble, both as to feel and glossy appearance.”

“The manner of varying the mixture is very different, some having triangular spaces of red and yellow alternately; others a kind of crescent, and some that were entirely red, had a yellow border which made them appear, at some distance, exactly like a scarlet cloak edged with gold lace.”

“The brilliant colours of the feathers, in those that happened to be new, added not a little to their fine appearance, and we found that they were in high estimation with their owners, for they would not, at first part with one of them for anything we offered, asking no less a price than a musket.”

“However some were afterward purchased for very large nails. Some of them as were of the best sort, were scarce, and it would seem that they are only used on the occasion of some particular ceremony or diversion, for the people who had them always made some gesticulations which we had seen used before by those who sung.”

“We were at a loss to guess from whence they could get such a quantity of these beautiful feathers; but were soon informed as to one sort for they afterward brought great numbers of skins of small red birds (i‘iwi) for sale, which were often tied up in bunches of twenty or more, or had a small wooden skewer run through their nostrils.”  (Cook, 1778; Brigham)

“‘Kamehameha I is said to have reproved his bird-catchers for taking the life of the birds. “The feathers belong to me, but the birds themselves belong to my heirs,” said the considerate monarch.’” (Emerson, Perez)  However, “[i]t is believed that most birds were killed after being plucked”. (Perez)

“[I]t is believed that native Hawaiian avifauna was affected by several interdependent factors … the extensively documented bird overkill by humans must have played a crucial role in their decline. … Numerous historical sources leave little doubt about the fate of most birds, regardless of the original reason for hunting them.” (Perez)

“Overhunting did not help many other bird species, which ended up adorning the garments of the Hawaiian nobility, or filling the bellies of the common people. Most birds victimized by Hawaiians are now either extinct or endangered; many are simply unknown to us, and their names have faded from Hawaiian memory.” (Perez)

In the modern age, ‘scientific collectors’ further decimated the Hawaiian forest birds.  “The tragedy for many Hawaiian birds was that they were not only distinctive, desirable and rare – a dangerous combination in the best of circumstances – but also often heartbreakingly easy to take.”  (Brown)

“The greater koa finch, an innocuous member of the honeycreeper family, lurked shyly in the canopies of koa trees, but if someone imitated its song it would abandon its cover at once and fly down in a show of welcome.”

“The last of the species vanished in 1896, killed by Rothschild’s ace collector Harry Palmer, five years after the disappearance of its cousin the lesser koa finch, a bird so sublimely rare that only one has ever been seen: the one shot for [Baron Lionel Walter] Rothschild’s collection.” (Brown)

Since 1800, five bird species have become extinct in North America; two additional species are presumed extinct and two sub-species have disappeared. Overall, bird extinctions in North America are a rare event.

In contrast, in Hawaii, a minimum of 31 bird species have become extinct since 1800 including 10 in the last 50 years. Further, 14 of 24 endemic forest birds are endangered. (NFWF)

“Rothschild was by no means alone in his zeal to capture birds at more or less any cost. Others in fact were more ruthless. In 1907, when a well-known collector named Alanson Bryan realized that he had shot the last three specimens of black mamos, a species of forest bird that had only been discovered the previous decade, he noted that the news filled him with ‘joy.’” (Brown)

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Keahuolū

The area of North Kona between Kailua Bay and Keauhou Bay to the south is generally recognized as containing the population core and the most fertile agricultural area of North Kona (Kona Kai ʻOpua “Kona of the distant horizon clouds above the ocean”.)  (Maly)

To the north of Kailua Bay, beginning at Honokōhau, is the relatively dry Kekaha district of North Kona, with its barren lava inlands and coastal fishponds (Kekaha-wai-ʻole-nā-Kona (the waterless place of Kona, it’s described as “a dry, sun-baked land.”)

Keahuolū is situated in the transition zone between these two contrasting environmental districts, and is immediately north of Kailua Bay, a center of both political and economic activities since before Western contact.

Keahuolū has been translated in a couple ways, “Ke-ahu-o-Lū” (the ahu (or alter) of Lū) and “Keʻohuʻolu” (the refreshing mists) – similar to the neighboring (to the south) Lanihau ahupuaʻa (cool heaven.)

A hill at Keahuolū and adjoining Kealakehe (to the north) is associated with mists.  “The settling of mists upon Puʻu O Kaloa was a sign of pending rains; thus the traditional farmers of this area would prepare their fields.”  (This notes the importance of rain in this relatively dry area.)  (Cultural Surveys)

Several general settlement pattern models have been generated by researchers that generally divide up the region into five basic environmental zones: the Shoreline, Kula, Kaluʻulu, ʻApaʻa and ʻAmaʻu.

Habitation was concentrated along the shoreline and lowland slopes, and informal fields were probably situated in the Kula and higher elevations, areas with higher rainfall.

The Shoreline zone extends, typically, from the high-tide line inland a few hundred feet. In Kailua this is the area from the shore to approximately Aliʻi Drive.  In this zone, permanent settlement began in Kona c. AD 1000-1200.

Several large and densely populated royal centers were situated at several locations along the shoreline between Kailua and Honaunau.

Several heiau were noted along the coast. Stokes described three coastal heiau sites in Keahuolū: Halepuʻa, Kawaluna and Palihiolo. Halepuʻa was described by Stokes as a koʻa, or fishing shrine, near the shore in a coconut grove.

Kawaluna Heiau was described by Stokes as a rebuilt enclosure located on the beach at Pāwai Bay. Heiau of Palihiolo was at or near the Keahuolū/Lanihau boundary, King Kalākaua had it rebuilt prior to his departure from Hawaiʻi.  (Rosendahl)

The Kula zone (the plain or open country) consisted primarily of dry and open land with few trees and considerable grass cover.

With limited soil, and lots of rock, this land was planted primarily in scattered sweet potato patches.  (This area was around the 500-foot elevation mark, and may extend further, to approximately the 600-800-foot elevation.)

The Kaluʻulu is zone is referred to as the breadfruit zone. Early explorers described this zone as breadfruit with sweet potatoes and wauke (paper mulberry) underneath; it may have been perhaps one-half mile wide. Here walled fields occur at the 600-800-foot elevation, which may be start of this breadfruit zone in this area.

The ʻApaʻa zone is described as a dryland taro and sweet potato zone (1,000-foot elevation and extended to the 2,500-foot elevation.) In historic accounts it is described as an area divided by low stone and earth walls into cleared rectangular fields in which sweet potato and dryland taro were planted. On the edges of the walls, sugarcane and ti were planted.

The ʻAmaʻu zone is the banana zone, which may extend from the 2,000-foot elevation to 3,000-feet, and is characterized by bananas and plantains being grown in cleared forest areas.  (Rosendahl)

William Ellis (1822) noted, “The houses which are neat, are generally erected on the sea-shore, shaded with cocoanut and kou trees, which greatly enliven the scene.”

“The environs were cultivated to a considerable extent; small gardens were seen among the barren rocks on which the houses are built, wherever soil could be found sufficient to nourish the sweet potato, the watermelon, or even a few plants of tobacco, and in many places these seemed to be growing literally in the fragments of lava, collected in small heaps around their roots.”

King Kalākaua later (1869) noted, “Keahuolu runs clear up to the mountains and includes a portion of nearly half of Hualalai mountains.  On the mountains the koa, kukui and ohia abounds in vast quantities.  The upper land or inland is arable, and suitable for growing coffee, oranges, taro, potatoes, bananas &c.”

” Breadfruit trees grow wild as well as Koli (castor-oil) oil seed.  The lower land is adopted for grazing cattle, sheep, goats &c.  The fishery is very extensive and a fine grove of cocoanut trees of about 200 to 300 grows on the beach.”

A sisal plantation was planted in Keahuolu in the late-1890s, a mill was constructed nearby; sisal was used to make rope and other fibers.  Operating until 1924, the McWayne sisal tract included about 1,000-acres of sisal fields in Keahuolu and adjoining Kealakehe.  (You can still see sisal plants, remnants of the sisal plantation, as you drive up Palani Road.)

A fishing village with a canoe landing was at Pāwai Bay.  Makaʻeo (later (July 10, 1949) developed into the Kailua Airport (commercial aviation ended there July 1, 1970)) had a large cocoanut grove, with a coastal trail running through it connecting Kailua Village to the Māmalahoa Trail.

The Kuakini Wall (1830-1844,) built to keep the free-ranging livestock out of the coastal settlements and gardens, extends from Kahaluʻu Bay to the southern portion of Keahuolu (with an average distance of about 1 ½ miles from the coastline.)  It goes to, but not through, Keahuolū at its northern terminus.

The ahupuaʻa of Keahuolū was awarded to Analeʻa Keohokālole ((c. 1816-1869) mother of King Kalākaua and Queen Liliʻuokalani) during the Māhele of 1848. Two walled houselots in Keahuolū had been held by Keohokālole’s ancestors “from very ancient times”.

Keohokālole was a great-granddaughter of both Kameʻeiamoku and Keaweaheulu two of the important chiefs who supported Kamehameha I in his rise to power.

Kameʻeleihiwa states, “Keohokālole was regarded by the Kamehameha clan as an Aliʻi Nui in honor of the great courage and loyalty proffered by her ancestors in their support of Kamehameha.”

As Aliʻi Nui, Keohokālole held the fifth largest number of ʻāina after the Māhele with 50 parcels.  She relinquished 48% of her original 96 ʻāina to the Mōʻī (King) retaining 23-parcels on Hawaiʻi, 25 on Maui and two on Oʻahu. Of her lands on the island of Hawaiʻi, two-thirds were located in the Kona District.  (Wong-Smith)

Keohokālole sold portions of her 15,000-20,000-acre grant to the government and other parties, with the balance being transferred to her heir, Liliʻuokalani.

In her Deed of Trust dated December 2, 1909, which was later amended in 1911, Queen Lili‘uokalani entrusted her estate to provide for orphan and destitute children in the Hawaiian Islands, with preference for Hawaiian children. Her legacy is perpetuated through the Queen Liliʻuokalani Children’s Center.

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