Images of Old Hawaiʻi

by Peter T Young Leave a Comment

Kāne‘ohe Yacht Club

The Kāne‘ohe Yacht Club was organized on October 28, 1924, with the original Club site on the western side of Kāne‘ohe Bay. 
 
 
Opening ceremonies at the present site were held on December 17, 1955.  Reportedly, Kāne‘ohe Yacht Club is the oldest Yacht Club in Hawai‘i, in terms of continuous service.
 
When we were kids, KYC and the Bay were our back yard.
 
Our house was about a block away.  An entrance gate to the club was at the end of the street of the old neighborhood.
 
A significant milestone and rite of passage in life was turning 10-years of age – it was then that you could go down to the Yacht Club on your own, without adult supervision.
 
Lots of the club is pretty much the same.  (However, to add more mooring spaces, there is a new parallel dock on the right side of the image below (where the El Toros are sailing.)
 
The place was kid-friendly and accommodating to young adults.  Back in the day, the Long House was available for periodic teen dances (hundreds of us packed the place.)  (Does anybody else remember the Vaqueros?)
 
We’d keep the Boston Whaler down there, and on a moment’s notice could run down and hoist it into the water for running around the Bay.
 
Back then, the clover-leaf opening in the reefs on the Marine Base side of the Club was the “ski lanes.” 
 
Two rafts were anchored across each other to keep you high and dry, while others in the group skied around the loop.  (It’s now used for mooring of larger boats.)
 
The Whaler also took us to all other points of interest on the Bay, camping at Coral Island, Kapapa and Chinaman’s Hat (Mokoli‘i;) fishing and diving across the bay; and just general cruising around.
 
In addition to the ski/cruising outboard boat, we first had the Mokuone, then Na Ali‘i Kai, then Lanakila fishing boats and regularly entered the Club’s fishing tournaments.
 
In addition to mooring and dry storage areas, the Club has two tennis courts, a swimming pool and a kid-sized wading pool.
 
And, it has a bar.  As a kid, that was some mysterious place that you were forbidden to enter.  We’d gaze in to see what was up.
 
I swear, looking into the bar, now, it looks like the same people sitting there sipping their cocktails – they must be the kids of the adults we used to look at.
 
There are swimming and sailing classes for kids and young adults offered throughout the year and plenty to do for the adults, too.
 
The first image shows the Kāne‘ohe Yacht Club as we knew it as kids, in a pre-1966 postcard noted in “The History of Kaneohe Yacht Club” book.  (This is the way I remember the club from small-kid times.)
 

by Peter T Young Leave a Comment

Holoua

In historical times, two tsunamis occurred during the first week of April. The first of these occurred on April 2, 1868; it resulted from the great earthquake that took place that day near Pahala.

Based on the extent and type of damage, the 1868 earthquake is estimated to have had a magnitude of about 8.0. Reports indicate that 46 people were killed and several entire Hawaiian villages were destroyed by the tsunami generated from the earthquake. (USGS)

Destruction caused by the 1868 great Ka‘ū earthquake included the Wai‘ōhinu in the Ka‘ū District of Hawai‘i Island. With a magnitude estimated at 7.9, the earthquake is the largest in Hawai‘i’s recorded history. (USGS)

“There were twelve shocks counted during the night. -most of them easy, one however rocked the bed considerably At four oclock that afternoon there was such an awful rocking and heaving of the earth as we never felt before.”

“Indeed there was a series of shocks following each other in quick succession the third of which drove us from the house.”

“After a cessation of only one or two minutes the fourth came. in which violent undulations, rotary, and all most all other motions were combined or followed each other in quick succession. “

“At one moment the surface of the earth seemed to move like the surface of the ocean and the large trees to sway hither and thither like ships masts in a storm. The few stone buildings in the place were ruined.”

“The chimneys of cook and dwelling houses were thrown down. Clocks, mirrors and crockery, not firmly secured, were generally thrown down and broken. Cellar walls and underpinning were much damaged.”

“Stone walls were generally prostrated, even the foundation stones being generally removed from their original position. and it was not easy to tell in which direction from the wall the larger portion of the stones had fallen.”

“The best chimney stacks of the Hilo Sugar Mills were thrown down while some of the old cracked chimneys supposed all most ready to fall were little affected. The shocks were considerably more severe here than they were at the crater of Kilauea thirty miles from here, but less severe than they were in Kau from Kapapala to Kahuku.”

“Then slight jars were felt almost constantly for a few minutes after which the earth commenced rocking again fearfully. This continued but a short time and was followed by a tidal wave.”  (Sarah Lyman; USGS)

A letter “by the School Inspector-General [Abraham Fornander] gives a detailed account of the volcanic phenomenon on Hawaii” in the April 29, 1868 issue of the Hawaiian Gazette.

Fornander notes, “I have just been told an incident that occurred in Ninole, during the inundation of that place.  At the time of the shock on Thursday, a man named Holoua, and his wife, ran out of the house and started for the hills above, but remembering the money he had in the house, the man left his wife and returned to bring it away.”

“Just as he had entered the bouse the sea broke on the shore, and, enveloping the building, first washed it several yards inland, and then, as the wave receded, swept It off to sea, with him in it.”

“Being a powerful man, and one of the most expert swimmers in that region, he succeeded in wrenching off a board or a rafter, and with this as a papa hee-nalu, (surf board), be boldly struck out for the shore, and landed safely with the return wave.”

“When we consider the prodigious height of the breaker on which he rode to the shore, (50, perhaps 60, feet), the feat seems almost Incredible, were it not that be is now alive to attest it, as well as the people on the hillside who saw him.” (Fornander in Hawaiian Gazette, April 29, 1868)

Artist William CP Cathcart of Honolulu made a painting of the event and calls what Holoua did, ”the greatest aquatic feat of its kind in the history of the world”.

“Not many would quarrel with him that [Holoua], is the granddaddy of all surfriders.  [Holoua] happens to be riding the crest of a 50 to 60 foot tidal wave, using a house rafter for a surfboard.”

“Says Artist Cathcart: ‘[Holoua] prevailed, the undefeated super-champion of surfers …’ Mr Cathcart suggests the [Holoua’s] deed should be commemorated with a large bronze statue, suitably placed.  The deed itself, he says, merits ‘a tribute that would immortalize the prestige of Hawaii through centuries.’”

“Just to show what the water was like that day, the old Commercial Advertiser reported that four villages and 100 persons perished in the waves.” (Honolulu Advertiser, March 10, 1957)

An obituary for Holoua’s grandson, Joseph Kanuu Holoua, notes that the story “has been passed from generation to generation of Holouas. Aa Holoua used a house rafter for a surfboard and safely [rode] a 50 to 60-foot tidal wave to shore.” (Honolulu Advertiser, March 12, 1961)

The April 2 great Ka‘ū earthquake was part of a larger volcanic crisis that unfolded over 16 days. On March 27, an eruption quietly began in Moku‘āweoweo, the caldera at the summit of Mauna Loa.

Seismic activity increased through the day, and by the afternoon of March 28, a magnitude-7.0 earthquake occurred in Ka‘ū, which caused extensive damage from its own very strong to violent shaking.

During the following four days, nearly continuous ground shaking was reported in Ka‘ū and South Kona. Earthquakes continued at rates of 50 to 300 per day, including a magnitude-6.0 each day, leading up to April 2.

Then, the great Ka‘ū earthquake, 15 times stronger than the magnitude-7.0 foreshock, occurred at 4 pm. A severe aftershock occurred on April 4, and aftershocks of decreasing magnitudes continued for decades.

The great Ka‘ū earthquake unlocked Mauna Loa’s Southwest Rift Zone, and on April 7, 1868, an eruptive fissure opened low on the mountain, just above today’s Highway 11 and east of Hawaiian Ocean View Estates. (USGS) (The other April tsunami was April 1, 1946.)

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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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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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