Hawaii Embassy Suites 2017 by Morris Media Network

Welcome Aloha and E Komo Mai — Welcome! It is a sincere pleasure to warmly welcome you to one of the most remarkable resorts in Waikīkī: the Embassy Suites by Hilton™ – Waikīkī Beach Walk®. We are positively delighted to host you here, at O‘ahu’s first all-suite resort, where you will find more amenities and complimentary services than at any other property on the island. Hawai‘i exudes a radiance and magic unlike any place in the world. Embassy Suites by Hilton — Waikīkī Beach Walk® celebrates this singular gem among destinations from its location as part of Waikīkī Beach Walk®, a special place that features shopping, restaurants and cultural offerings for both keiki (kids) and adults, including live music on the lawn, to its gracious and caring hosts. This resort is proudly managed by Outrigger Hotels and Resorts, a highly successful leisure lodging, retail and hospitality company with properties located throughout Asia Pacific. With 70 years of experience and roots firmly in Hawai‘i, Outrigger’s authentic style of ho‘okipa (hospitality) – what we call Ke ‘Ano Wa‘a, The Outrigger Way, guides us every day. At the core of the Embassy Suites by Hilton experience is the high degree of personal service and the Hawaiian spirit of aloha you will find here. From bell captains and servers to front desk hosts and housekeepers to pool attendants and entertainers, all of us are united in our kūlia i ka nu‘u, or striving for excellence. We hope that your stay is a pleasant one and that you will return soon to our islands and the Embassy Suites by Hilton — Waikīkī Beach Walk®.

Warmest Aloha,

Simeon Miranda General Manager Embassy Suites by Hilton — Waikīkī Beach Walk®

Unforgettable Vacation, Incredible Value Travelers looking for an unforgettable vacation can find a host of complimentary services and amenities at Embassy Suites by Hilton – Waikiki Beach Walk® that make it easy for guests to focus on fun, adventure and relaxation. In addition to the fresh, healthy choices at the complimentary breakfast, 24-hour fitness center, whirlpool spa and outdoor pool, Embassy Suites by Hilton — Waikīkī Beach Walk® encourages guests to feel their very best with free yoga classes. “Basic Yoga Flow” is held every Monday, Wednesday and Friday* at 7 a.m. on the 4th floor Grand Lanai. “The benefits of yoga are both mental and physical,” says Yoko Fujiwara, who provides certified yoga instruction in both English and Japanese. “Just come, and do what you can. Calm and quiet your mind. All you need to do is breathe, and I guarantee you will feel good.” If the temperature gets too hot to handle, head to the openair Grand Lanai, located on the fourth floor. Open from 9 a.m. to 9 p.m, the spacious sundeck is filled with chaise lounges, cabanas, umbrella-shaded tables and covered pavilion. Take a dip in the heated swimming pool, made in Italy or the whirlpool spa. For families, keiki will delight in the wading pool. When evening rolls around, guests gather for the Evening Poolside Reception, held each evening from 5:30 to 7:30 p.m. Enjoy complimentary beverages and snacks while taking in the live Hawaiian entertainment. At the end of the day, well-appointed suites will welcome you home. Recently renovated to capture Hawai‘i’s unique sense of place, each suite pays homage to the Native Hawaiian art of kapa, a traditional Hawaiian fabric stamped with intricate geometric prints. The one- and two-bedroom suites come fully equipped with a wet bar and microwave, mini refrigerator, and coffee maker to bring all the conveniences of home – without the stress.

For more information about all the amenities and activities at Embassy Suites by Hilton – Waikīkī Beach Walk® or to make a reservation, call 808-921-2345 or

visit our website www.embassysuiteswaikiki.com

Amenities and Services ROOM FEATURES COMPLIMENTARY SERVICES AND AMENITIES • • • • • • • • • •

Full Made-to-Order Breakfast Daily Nightly Poolside Reception WiFi Internet Access Welcome Drink Coffee or Tea Domestic Long Distance & Local Phone Calls* Hawaiian Music CD upon departure* 24-hour Fitness Center 24-hour Business Center Newspaper

• • • • • • • • • • •

ADA Rooms Air Conditioning Balconies Blackout Drapes Cable & Pay TV CD & MP3 Player Alarm Clock Radio Coffee and Tea-maker Microwave Daily Maid Service Hair Dryer Hot Pot

• In-Room Safe • Iron & Ironing Board • LCD Flat-Panel TV (one in each room) • Mini-refrigerator • Giovanni Bathroom Amenities** • Voicemail • Wet Bar

• ATM • Catering Staff • Coin Laundry & Valet Dry Cleaning • Concierge • Guest Services Desk • Hospitality Suite • Ice Machine • In-room Dining (Lunch & Dinner) • Luggage Storage • Meeting Rooms

• • • •

Porter / Bell Service Restaurants Bike Rental Swimming Pool / Whirlpool Spa • Tour & Travel Activities Desk • Valet Parking • Wake-up Call

HOTEL INFORMATION Embassy Suites® by Hilton Waikīkī Beach Walk®

facebook.com/EmbassySuitesWaikiki

201 Beachwalk Street, Honolulu, Hawai‘i 96815

twitter.com/EmbassyWaikiki

Phone: 808-921-2345 Subject to state and local laws. Must be of legal drinking

Fax: 808-921-2343

age. *First 30 minutes free. **Subject to change.

EmbassySuitesWaikiki.com

SERVICES

pinterest.com/embassysuiteshi instagram.com/embassywaikiki

The Original Waterfall Collection

An incomparable collection of Hawaiian and Island lifestyle jewelry OAHU: Outrigger Waikiki on Kalakaua Avenue • Waikiki Beach Walk • Ala Moana Center • Hilton Hawaiian Village • Polynesian Cultural Center MAUI: Queen Ka‘ahumanu Center • Lahaina Cannery • The Shops at Wailea • Whalers Village 858 Front Street • 744 Front Street • Hyatt Regency Maui • Grand Wailea Resort KAUAI: Poipu Shopping Village • Grand Hyatt Kauai BIG ISLAND OF HAWAII: Kona Marketplace • Kings’ Shops • Hilton Waikoloa Village NORWEGIAN CRUISE LINE: Pride of America NaHoku.com • 1-800-260-3912

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Location & Area Information

Just beyond the hotel’s valet and concierge, there is a cool, covered pathway to Waikīkī Beach Walk®, a shopping, dining and entertainment district on Lewers Street. The largest development project in Waikīkī’s history, this area consists of nearly 8 acres of prime real estate, which includes two floors with 40-plus locally owned boutiques and seven popular restaurants, all surrounded by an expansive lawn and entertainment plaza where you’ll find local musicians, entertainers and hula performances. Each Tuesday from 4:30 to 6 p.m., you’ll hear Hawaiian music and see hula on the lawn. And as a

LOCAL FLAVOR Weekly events at Waikīkī Beach Walk* • KU HA`AHEO — HULA ON THE LAWN Tuesdays from 4:30-6 p.m.

• FREE YOGA CLASS* Wednesdays at 4 p.m.

• HOOPDANCING Saturdays at 5 p.m. (small fee for instructors) * Subject to change; weather permitting.

commitment to health and wellness, on the lawn there’s Hoopdance Fitness, Belly Dancing, Yoga and Hawaiian Quilting classes throughout the week (some classes are free or at a nominal fee). “Literally steps away from your hotel,” says Conchita Malaqui, Waikīkī Beach Walk® general manager, “you’ll find world-class dining options, such as Roy’s Waikīkī,

ALA WAI BLVD.

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130+ beers on tap with food that is sure to please

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selection of draft beers in Hawai‘i, Yard House has

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Beachwalk. And what may well be the largest

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For the best “five-napkin” burgers, visit Cheeseburger

ROYAL HAWAIIAN

and Kaiwa, a Tokyo-based teppan fusion restaurant.”

LEWERS

Ruth’s Chris Steak House, Taormina Sicilian Cuisine

everyone in your group.

E M BA S SY SU I T E S BY H I LT O N — WA I K Ī K Ī B E AC H WA L K ® 201 Beachwalk Street Honolulu, Hawai‘i 96815 Phone: 808-921-2345 • Fax: 808-921-2343 EmbassySuitesWaikiki.com

E M BA SSY SU I T E S BY H I LT O N — WA I K I K I B E AC H WA L K ®

(FAR RIGHT) ©GARY B. SMITH

(THIS PAGE) EMBASSY SUITES® BY HILTON — WAIKIKI BEACH WALK® ; (OPPOSITE PAGE, TOP LEFT AND BELOW) EMBASSY SUITES® BY HILTON — WAIKIKI BEACH WALK®;

Waikīkī Beach Walk

A multi-generational halau (hula school) is backed by live musicians for the Tuesday evening hula show from 4:30 to 6 p.m.

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LEWERS

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ALA WAI BLVD.

32 2

HOTEL INFORMATION

POKE LORE

Amenities and Services

Pronounced PO-kay, this island staple

Wholeness and Well-being

comes in a wide variety of iterations.

Location and Area Information

BY SIMPLICIO PARAGAS

enjoying at least one oceanfront dinner.

ALL IN THE FAMILY The Pahinui ‘ohana has greatly influenced the evolution of Hawaiian music. BY TOM HANLEY and SIMPLICIO PARAGAS

ARCHITECTURAL WONDERS

JAM SESSIONS Nightly entertainment at Outrigger venues.

THE HISTORY OF HULA From ancient to contemporary.

TABLES WITH AN OCEAN VIEW No trip to O‘ahu is quite complete without

BY ALLAN SEIDEN

O‘AHU TOP 5 Not to-be-missed attractions.

An architect-led walking tour of some

ON THE COVER

of the island’s most iconic buildings.

©Pete Ryan / National Geographic /

BY GINA BAILEY

Aurora Photos

(FROM LEFT) ©OLIVIER KONING; ©HAWAIIAN LEGACY ARCHIVE /PACIFIC STOCK-DESIGN PICS/SUPERSTOCK

Contents

Apple Store Cartier Fendi Forever 21 Harry Winston Hermès Jimmy Choo kate spade new york Loro Piana Omega Boutique Rolex Boutique Salvatore Ferragamo Tory Burch Tourneau Valentino partial listing

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110 Distinctive Stores 30 Unique Dining Destinations One Unforgettable Experience

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A L L I N T H E F A M I LY T H E H E L P E D BY

T O M

PA H I N U I â&#x20AC;&#x2DC;O H A NA H A S D E F I N E H AWA I I A N M US I C H A N L EY

A N D

S I M P L I C I O

PA R AGA S

Like bulls in the musical china shop, the Pahinuis

Able to master any stringed instrument, Gabby joined

have, in turn, defined, thrilled and confounded the Hawaiian

numerous other bands on the streets and in bars, all the

music scene with their raw talent, blue-collar approach and

while learning to sing. His lovely falsetto voice could tra-

legendary antics. Headed by patriarch Charles Phillip Kunia

verse to thick and raspy; indeed, after decades of hard liv-

“Gabby” Pahinui, this family’s knowledge and practice of music

ing, his voice became ever more distinctive. His first paying

was fostered in a classic “kani ka pila” (freeform, backyard jam)

gig was in 1933 at the Red Skelton Club. From there, he met

environment. Gabby himself began his career as a self-taught

Andy Cummings and joined his Hawaiian Serenaders. Soon

guitarist sitting in with other bands in the rough environs of

after, he perfected his skills on slack key guitar under the

1920s Kaka‘ako. This was Hawai‘i music finding itself, fusing

tutelage of the great Herman Keawe.

decades of backyard lū‘au riffs and South Sea classics with the new Big Band sounds of Artie Shaw and Tommy Dorsey.

At age 16, Gabby was married. He and his wife, Emily, immediately started a family and eventually had 13 hun-

(PREVIOUS SPREAD, FROM LEFT) ©USAN TITELMAN/

(Previous spread) Hawaiian musician Gabby Pahinui poses for a portrait in September 1974 in North Kona, Hawai‘i.

(This page, from top) Gabby Pahinui and his wife; (from left) Martin Pahinui, Phil Pahinui, Atta Issacs, Palani Vaughan,

Gabby Pahinui, Bla Pahinui, Peter Moon, and Cyril Pahinui. (Opposite page) Illustration of Gabby Pahinui

MICHAEL OCHS ARCHIVES/GETTY IMAGES; SWELL PHOTOGRAPHY/ALAMY; (THIS SPREAD, FROM LEFT) ©RICK PETERSON; COURTESY PANINI RECORDS; ©HERBERT K. KANE, LLC

Sons Martin, James and Cyril are just three of the 10 children in whose hands, voices and hearts his gift echoes.

gry mouths to feed, so times “stay tough.” An occasional guitar had to be sold to put food on the table. Throughout the 1940s and 1950s Gabby stayed busy, playing at bars, lounges and lū‘au. In 1946, he recorded his first song,

(This page from left) Martin, Bla and Cyril; (Opposite page) Cyril conducting a class at the base of Waipi’o waterfalls. (THIS PAGE) ©PANINI RECORDS; ©CYRIL PAHINUI

“Hi‘ilawe,” in honor of a sacred waterfall on Hawaiʻi Island. It is thought to be the first Hawaiian recording featuring

Late in his life, fame found Gabby amid the Hawaiian

the slack key guitar—certainly one of the most beautiful—

Renaissance of the 1970s. His mastery of Hawaiian music

and remains on Hawaiian radio play lists to this day. Many

made him the teacher of a new generation, a vessel of pre-

recordings followed.

cious knowledge and it was then he got a new nickname:

Gabby’s family revolved around music at their house

“Pops.” Pops was retained by the Department of Parks and

in Waimānalo. In keeping with the societal norms of the

Recreation to teach youngsters to play Hawaiian slack key.

Islands, this abode became a popular second home to many

His eponymus album, “Gabby,” was his re-introduction into

musicians and friends—the Pahinui ‘ohana shared food,

a short limelight. His health, failing in part due to living a

music, “plenty beer,” and lots of love and company. To help

performer’s life, and injuries from an old accident, led to his

make ends meet, Gabby took a job for the city working pick

death in 1980 at the age of 59. This Hawaiian icon, this origi-

and shovel. He would later drive a garbage truck during the

nal voice, left a legacy.

day, but evenings and weekends would always belong to his family, friends and music.

Today, a larger-than-life statue of Pops honors the legendary musician at Waikiki Beach Walk®. The sculpture depicts

Gabby during a happy moment in his Waimānalo backyard,

“Gabby’s music is synonymous with Hawai‘i,” Duffett

standing and playing guitar, as photographed by his son, Cyril.

said. “This statue captures Gabby in his element—playing

“Gabby Pahinui was instrumental in inspiring genera-

music in his backyard surrounded by family and friends—

tions of musicians to perpetuate Hawaiian music,” said

and evokes his talent, humility and kindness that endeared

Ernest Rady, the chairman, chief executive officer and presi-

him to generations.”

dent of American Assets Trust, Inc., the company that owns

Sons Martin, James and Cyril are just three of the 10 chil-

Waikiki Beach Walk®. “Waikiki Beach Walk® is honored to

dren in whose hands, voices and hearts his gift echoes. The

serve as the home for this remarkable statue that celebrates

youngest Pahihui, the late Martin, was perhaps one of Hawai‘i’s

Gabby and his legacy as a Hawaiian music icon.”

most skilled vocalists. He, who strummed his first ‘ukulele at

Sculptor Kim Duffett began conceptualizing and design-

the tender age of 3, helped grow the Hawaiian music scene

ing the 7-foot-tall bronze statue at his studio in Honolulu

ever since. In the mid 1980s, he collaborated with brother Cyril

nearly a year ago. In addition to “Kanikapila,” his recent

and the Peter Moon Band and, as lead vocalist, belted out the

efforts include the three, twice-life size hula dancers front-

smash hit “Cane Fire.” Soon after came the long-awaited album

ing the Hilton Hawaiian Village entitled, “Kaha ka ‘Io me na

“The Pahinui Bros.,” which reunited Martin, Cyril and James,

Makani,” for which he received the Kahili Award for Visual

along with famed guitarist Ry Cooder. (Struggling with cancer,

Arts at the 2003 Keep It Hawai‘i Awards.

Martin passed away at his Waimānalo home in May 2017.)

“Pops told me to watch and listen.That’s how I learned to play music and it’s what I teach my students today. I trip out when I listen to our old songs and I can’t believe everything that we accomplished.” —CYRIL PAHINUI. tom, and a stretched fishing line serving as strings. The rudimentary instrument would lead to a gift from his pops Gabby, who gave his son a brand new Martin tenor ʻukulele in 1954, a prized possession for any aspiring musician. A southpaw, the then-12-year-old naturally picked up the ʻuke with his left hand and started playing. What he didn’t realize were the strings were strung for a right hander, placing him in the same category as such legendary artists as Jimi Hendrix and Paul McCartney, who strum their guitars left-handed without altering the configuration of their righthanded-strung guitars. “That’s why my dad would always position me to the right of him,” Bla explained. “He would strum down and I would go up, which gave us that unique Pahinui sound.” It is Cyril who is the keeper of the ki ho‘alu (slack key) music flame for the Pahinui ‘ohana. He tours regularly, and has twice entertained patrons of Carnegie Hall with his brand of Hawaiian melody. Awarded two Grammys and several Nā Hōkū Hanohano Awards, he exemplifies a modest demeanor while honoring those who taught him, never forgetting his humble beginnings. “In those days, we didn’t get music lessons like today and most of the musicians I knew didn’t read music,” Cyril said. “Most of the techniques were considered to be secret and were not shared outside the family or music community. Once I began to learn, I would get up at 4 in the morning and make my dad breakfast so that he would spend time with me before leaving for his job—just me, one-on-one with my dad. (Opposite page from left) Pancho Graham, Charles Brotman, Danny Carvalho, Cyril, Makana and Jeff Petersen pose for a photo after playing a concert that honored the musicians who were featured in the movie 'The Descendants' on April 14, 2012. (This page) Cyril Pahinui mentors his students.

After nearly a half century creating music, Martin illus-

“That’s how I learned to play music and it’s what I teach my

outside the confines of trendy fads. He also reflected a firm

students today. I trip out when I listen to our old songs and I

commitment to both honoring and extending the Pahinui

can’t believe everything that we accomplished.”

slack key legacy. “My daddy was a very big influence on all of

GETTYIMAGES; ©CYRIL PAHINUI; MARCO; (THIS PAGE) ©CYRIL PAHINUI.

Under his trademark hat, Cyril’s presence is broad with

us,” Martin once said. “But he always did things his own way

wide Hawaiian features and a calm demeanor that belies

and he taught us to trust our own instincts, too. He always

his stature. Much like his dad, his voice varies from surpris-

said the key was to respect the culture and then do your

ingly gentle to a raspy growl. In his version of “Hi‘ilawe,” Cyril

music in the way that brings you the most enjoyment.”

claims to see what his father saw of the beautiful Waipi‘o

A self-taught musician who readily admits he can’t read (OPPOSITE PAGE FROM LEFT) ©GARCIA/STRINGER/

“Pops told me to watch and listen,” Cyril continued.

trated that good music played well exists in a special place

Valley and its people. One can sense his father’s energy, his

music, James “Bla” Pahinui’s first guitar was made with a

mana (spirit), speaking through him, and even sense the old

two-by-four board with nails pounded at the top and bot-

bull in the china shop beneath.

POKE LORE A

H AWA I â&#x20AC;&#x2DC; I BY

STA P L E

S I M P L I C I O

PA R AGA S

T H AT

DAT E S

P H O T O G R A P H Y

BAC K BY

C E N T U R I E S

ST E V E

CZ E R N I A K

It’s not pronounced poke, like a jab, but PO-kay, as in the Hawaiian staple that has been around for centuries. The dish is a culinary conundrum—not only because of its pronunciation—but its origins have been widely debated among food historians. Some theorize that the dish first appeared pre-Captain Cook contact while others, like author Rachel Laudan in her book “The Food of Paradise,” claim that poke came to be as we know it today as late as the 1960s. Theories aside, poke is simply a Hawaiian term that means to cut crosswise into pieces. In its simplest form, poke is composed of raw, bite-sized cubes

Hawai‘i’s rich melting pot of cultures has had an influ-

of fish that are traditionally seasoned with Hawaiian sea salt,

ence on this traditional Hawaiian pūpū (snack), which can be

limu and ‘inamona (ground kukui or candlenut). However, chefs

readily found at just about any supermarket or restaurant.

nowadays have elevated the flavors to include such ingredients

Supermarkets typically sell a dozen or more varieties, with

as sea asparagus, pineapple poi, soy-opihi foam and even pea-

different stores known for their respective specialties. Even

nut butter. For chef Isaac Bancaco, poke is about nostalgia.

local Safeway and Foodland stores feature poke counters.

“My grandfather used to catch a lot of kala (unicorn fish) so

Mainstays include ahi infused with soy sauce (shoyu ahi

that’s my favorite type of poke,” says Bancaco, who grew up on

poke), spicy ahi and salmon poke. The best part: Every poke

Maui. “It’s a pretty pungent fish with a gamey reef flavor but it

counter offers free samples, so don’t be afraid to taste differ-

always reminds me of my childhood.”

ent selections until you find your favorite.

(Previous spread, from left) Lomi lomi salmon; tako and ahi poke. (This page, from left) mussels poke; Hawaiian-style beef jerky. (Next spread, from left) Tofu poke; cubes of ahi and salmon.

“Poke is just another avenue to Hawaiian cuisine,” Bancaco

More often than not, poke is pre-seasoned then sold by the

says. “Globally, raw fish is consumed in many different coun-

pound at most seafood counters. Not so at The Poké Bar, the lat-

tries and cultures; you’ve got ceviche in Central and South

est dining concept introduced at the Waikīkī Beach Walk®. Here,

America, crudo in Italy and poisson cru in France and Tahiti.”

guests first select two or three proteins (from ahi and salmon to

The attention to poke can perhaps be best attributed to celeb-

shrimp and octopus), followed by their vegetables, a selection

rity chef Sam Choy, who helped popularize the “Hawaiian soul

of sauces and such crispy toppings as garlic, onions and furi-

food” by establishing poke festivals on Hawai‘i Island and O‘ahu.

kake. Bowls come in small and regular sizes.

The recipe contests became fiercely competitive with amateur

“It's like ordering a sandwich at Subway," says co-owner Tim

and professional chefs vying for bragging rights for the best poke.

Chung. "But instead of cold cuts, you're choosing a type of sea-

In 1999, Choy authored a hardcover cookbook, “Sam Choy’s Poke,”

food and then building on to your bowl of rice; there really are

which featured past winning recipes, as well as his own savory

no limitations to the combinations."

creations. A follow-up companion book, “Little Hawaiian Poke Cookbook,” was released two years later. “My love for poke has made me want to make it recognized as much as sashimi and sushi.” Choy writes. “My top three poke are traditional ahi with Hawaiian salt, limu kohu (seaweed) and

While the combinations and incarnations may be infinite, the classic ahi poke—prepared simply with sea salt, green and white onions, limu, sesame oil, ‘inamona and shoyu—will always be a favorite among locals and visitors alike. “I’ve been eating poke since I was in the womb,”

‘inamona; ‘ōpelu (mackerel scad) poke; and oio (bonefish) poke,

Bancaco quips. “It’s definitely one of the dishes that

which I make at home.”

defines Hawaiian cuisine.”

Sam Choy ABC’s “Good Morning America” Recipe 1-1/4 lbs No. 1 grade fresh ahi, cubed into bite-sized pieces 1/4 cup yellow onion, minced 1/4 cup green onion, minced 3 tbsps. limu kohou (a reddishbrown seawood) 1 tbsp. ‘inamona (ground innards from roasted kukui nuts) 2 tsps. Sesame oil Combine in mixing bowl; add dry ingredients and chill for at least two hours before serving.

Tables With an Ocean View Nothing could be more romantic than an intimate dinner for two under the stars. Throughout the years, tales of romance and humorous antics have spontaneously unfolded at Outrigger’s oceanfront dining establishments where memorable sunsets are always free.

Chuck’s Steak House After graduating from the Cornell Hotel and Restaurant School in 1956, Charles “Chuck” Rolles moved to Hawai‘i in 1959 to open the first of a number of eponymous restaurants in Waikīkī. He was deemed the first to bring the steak house and salad bar concept to the Continental United States. And this tradition continues today. Here, guests have front-row seats to Diamond Head, Waikīkī Beach and swaying palm fronds. A longtime favorite among kama‘āina, Chuck’s Steak House prides itself on its aged USDA Prime cuts of steak, which are cut on-site and grilled over lava rocks. Sirloins and striploins can be combined with lobster and scallops. 2335 Kalākaua Ave., Outrigger Waikīkī Beach Resort, 808.923.1228; open nightly for dinner; chuckshawaii.com/ steakhouselocation.html

Duke’s Waikīkī Whether you’re sitting at the bar or seated in the dining room, this Waikīkī institution offers panoramic ocean views, live music and a menu that pays tribute to our local bounty. Fresh Hawaiian fish can be prepared in various ways, including encrusted with macadamia nuts. For a different type of protein, order the huli huli chicken, a Duke’s original that features grilled fresh breast of chicken marinated in garlic, ginger and shoyu, and accompanied by pineapple gremolata. And you can’t leave here without a slice of Kimo’s Original Hula Pie. Be sure to arrive early to catch the sunset and then stick around at the Barefoot Bar for live entertainment. 2335 Kalākaua Ave., Outrigger Waikīkī Beach Resort, 808.922.2268; open daily for breakfast, lunch and dinner; dukeswaikiki.com

(Clockwise from top) Couples can enjoy the ocean view while dining at Hula Grill; enjoy a tropical cocktail at Duke’s; be sure to save room for Kimo’s Original Hula Pie; a variety of cuts are available at Chuck’s Steak House; Hula Grill’s lānai boasts a view of Diamond Head; try Duke’s pulled pork sandwich in sweet bread.

A Hawai‘i vacation wouldn’t be quite complete without at least one intimate oceanfront dining experience.

Beachfront dining is always a romantic retreat. Not only is the setting memorable but so is the cuisine. Here are our top picks when planning to celebrate a special occassion.

Hula Grill The plantation-style décor features wood paneling juxtaposed with stark white molding, evoking images of old Hawai‘i. The menu, though, is more contemporary, listing such favorites as macadamia-nut-crusted monchong topped with crab, rich coconut seafood chowder, guava barbecue chicken and a Farmers Market noodle bowl, consisting of Small Kine Farms mushrooms, Aloun Farms green beans and kabocha, Wailea Agriculture hearts of palm, Sumida Farms watercress and handmade ramen, all steeped in a coconut miso dashi and punctuated with sesame chili oil. Available Monday through Friday from 4:45 to 5:45 p.m., the $27 threecourse “Chef’s Tasting” menu starts with a choice of Hula Caesar salad or Localicious salad, followed by an entree selection of fresh local fish in a beurre blanc sauce, shrimp pasta carbonara, Farmers Market noodle bowl, braised shortribs, grilled steak Kiana or guava barbecue chicken. For dessert, choose from Tropical Dreams sorbet or island-style bread pudding. A daily brunch is also served from 11 a.m. to 2 p.m. (THIS PAGE, CLOCKWISE, FROM TOP LEFT) ©OUTRIGGER ENTERPRISES

Steps away from “The Library,” the Plantation Bar showcases

GROUP (2); ©WIKIMEDIA; ©OUTRIGGER

nightly live music and hula performances. Aloha Hour offers

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specials from 2 to 6 p.m. 2335 Kalākaua Ave., Outrigger

©OUTRIGGER ENTERPRISES GROUP.

Waikīkī Beach Resort, 808.923.4852; open daily for breakfast and dinner; hulagrillwaikiki.com

ARCHITECTURAL WONDERS O â&#x20AC;&#x2DC;A H U S T RU C T U R E S I N F L U E N C E D BY E U RO P E A N A N D A S I A N D E S I G N S BY

G I NA

BA I L EY

(Previous spread) Byodo-In Temple, Valley of The Temples, Kane‘ohe; (This page) St. Andrew Cathedral is an example

of English Gothic architecture. The original cut stones for the arches and columns were shipped to Hawai‘i in

1867 from British quarries. (Opposite page) Construction for the Hawai‘i State Library was completed in 1913.

(PREVIOUS SPREAD) ©MICHAEL DEFREITAS / ROBERTHARDING / GETTYIMAGES; (THIS SPREAD) ©OLIVIER KONING; (NEXT SPREAD) ©OLIVIER KONING

It is often said that the character of a city is defined by its architecture. That being the case, modern day Honolulu is a place of contradictory splendor. We have French and English Gothic revival styles complemented by Italianate influences, pseudo New England parishes and multiple openair Mediterranean courtyards. We have constructural gems that closely co-exist with Greco-Roman, Beaux Arts, Neoclassical, late Victorian (complete with Byzantine and Corinthian ornamentation), and Renaissance and American-Greek revival-style buildings, in addition to ornate palaces. Besides the uniquely diverse architecture, these historic hales (homes) are within walking distance to world renowned beaches, a stone’s throw away from glittering condominiums and all embedded within the swaying palms of a tropical paradise. Although O‘ahu is mostly known for the tourist mecca

For architectural aficionados, the novice or those with

of Waikīkī—and the television series “Hawai‘i Five-O”—the

an intrinsic curious mind—visitors and locals alike—the

downtown and Chinatown districts are lined with a treasure

most efficient, engaging and by far entertaining way to view

trove of architectural delights. This eclectic array of struc-

these famous landmarks is to take the American Institute of

tures is a direct consequence of Hawai‘i being the only U.S.

Architects (AIA) tour, which is led by an AIA member, includ-

state to have once been a monarchy, then transformed into a

ing retired architect Frank Haines. The tour is limited to an

territory and eventually becoming the 50th state in 1959.

intimate group of 10 people, conducted on a pre-arranged

The Hawai‘i State Capitol reflects Hawai‘i’s emergence into the modern age.

“I started these tours because I was surprised to find that so many of my friends didn’t know about the history of some of these great buildings.”

(From left) One of Kahumoku’s ‘ukulele; shelves displaying some of Kahumoku’s many awards including Grammy and Nā Hōkū Hanohano awards; taking a stroll on the grounds of the farm, guitar in hand.

Saturday morning at 9 and begins at the office of AIA in

A local institutional landmark in and of himself, Haines

Honolulu. The ‘walkabout’ consists of 23 stops and lasts about

begins the tour by quipping, “Just call me grandpa.” However,

two-and-half hours, depending upon how colorful Haines is on

don’t let the term, his age or waving cane deceive you into

that particular day.

thinking this is an ‘amble nomenclature city tour.’ We proceed

“I am enough of a ham to keep enjoying these tours,” chuck-

down Merchant Street toward the Stangewald Building, an

les Haines, when asked why he continues these tours after

Italianate structure that boasts many firsts for Hawai‘i: it was

more than two decades. “I started these tours because I was

the first six-story, high-rise when it opened in 1901; it was the

surprised to find that so many of my friends didn’t know about

first fire-proof office; and it was one of the first places that fea-

the history of some of these great buildings.”

tured an electric elevator.

(This page) Hawaiian Royalty’s appreciation for European architectural styles can be seen with ‘Iolani Palace. (Opposite page) The Alexander & Baldwin Building extends an entire city block on Bishop Street.

(THIS SPREAD) OLIVIER KONING

In addition to a vast wealth of information, Haines tosses

Post Office and Courthouse. The Mission/Spanish Revival style

only he would know given his former position as president

building certainly belongs in Hawai‘i with its tile roof, stucco

and chairman of Architects Hawai‘i and the principal architect

exteriors, open courtyard, shady arcades and spacious porti-

for many prominent projects, including the restoration of the

cos. Known as the “Federal Building” before 1977, this is where

Ali‘iolani Hale (translating to “House of the Heavenly Chiefs”),

the U.S. District Court for the District of Hawai‘i met from

which he is proudly responsible for restoring in 1975.

1959 until 1978. It was renamed the King Kalākaua Building in

While conducting research for the project, Haines says his

2003 and is now occupied by state government offices. It was

team found a copy of a letter that King Kamehameha IV wrote

officially listed on the National Register of Historic Places on

to the Hawaiian Consul in Sydney, Australia. “In it, the king

January 27, 1975.

stated that he wanted to build a new palace, but since there

The King Kamehameha statue stands prominently in front of Ali‘iolani Hale, across from ‘Iolani Palace.

One of the many points of interest is the United States

in enough humor to keep the group fascinated by bits of trivia

Also appearing on the same list is the Alexander & Baldwin

were ‘no qualified architects in Hawai’i,’ he requested propos-

Building, which extends an entire city block on Bishop Street.

als from Australian architects.” But King Kamehameha IV died

Built at a cost of $1.2 million, the steel-and-concrete structure

long before construction ever began. Nonetheless, Ali’iolani

stands out as one of the masterworks of architecture from the

Hale and ‘Iolani Palace (meaning “Hawk of Heaven”) were com-

1920s and 1930s in Honolulu. Some of the more notable archi-

pleted in 1874 and 1882, respectively. Both are not to be missed

tectural aspects include the extended upper floor balcony

and are on the State and National Register of Historical Places.

that imparts a residential look, the columned recessed entry

“In it, the king stated that he wanted to build a new palace, but since there were ‘no qualified architects in Hawai’i. He requested proposals from Australian architects.”

Authentic Hawai‘i served here. Looking for a gift made in Hawai‘i or the best in regional cuisine? Outrigger Resorts in Waikīkī are home to an impressive variety of authentic local shops and restaurants, just steps from the beach.

Architecture Walkabout American Institute of Architects (AIA) is a non-profit corporation dedicated to historic preservation. All tours require reservations and cost $15 per person. For more information and/or reservations, visit aiahonolulu.org or call 1-808-628-7245.

These buildings are a major part of Hawai‘i’s story and they should be preserved and told.

Two other noteworthy landmarks not on the tour because of distance are the Byodo-In Temple, built in 1960 to commemorate the centennial of the arrival of Japanese immigrants to Hawai‘i and is a replica of a 1,000 yearold Buddhist temple in Japan; and the East-West Center (1962), which architecturally—especially the Japanese garden designed by Kenzo Ogata of Tokyo—reflects its role in public diplomacy in the Asia-Pacific region. with mosaic murals and the terra cotta-clad façade. A col-

was considered “The Pride of the Pacific” due to its lavish

laboration between C.W. Dickey (who was Samuel Alexander’s

opulence; Hawai‘i State Capitol with its open-air concept

grandson) and Hart Wood, the building’s interior and exterior

designed to symbolize water, royal palm trees, blue skies and

feature countless Chinese details—including heads of water

the island’s volcanic origins; Honolulu Hale where interior

buffalo that jut out—to honor the contributions of Chinese

ceilings are hand-painted, the chandeliers are 4,500 pounds

labor to A&B’s success.

each and the bronze-sheeted front doors weigh 3,000

Haines notes that many of the buildings once had brick fronts,

its magnificent arches and an open-sky interior courtyard

appearance. Much of the area is now part of a preservation dis-

surrounded by a lushly shaded lawn.

trict, and while interiors can be changed, Haines asserts that exteriors must be kept to historical specifications. Without spoiling too many of the tour’s other astonishing

(From left) Built in 1929, the Dillingham Transportation Building is a four-story structure; the Stangewald Building can be found on Merchant Street.

pounds when combined; and the Hawai‘i State Library with

which have since been plastered to give a more “contemporary”

As we continued the tour, we learned more about Spanish Colonial, Italian Renaissance, Romanesque and Neoclassical architecture styles. More importantly, we learned that Honolulu

surprises, other highlights include: St. Andrew’s Cathedral

harbors some of Hawai‘i’s most significant treasures—all within

known for its Gothic tower and a stained glass mural depict-

walking distance.

ing the history of Christianity from Judea to the Hawaiian Islands; The Hawai‘i Theatre, which opened in 1922 and

“These buildings are a major part of Hawai‘i’s story,” Haines concludes, “and they should be preserved and told.”

(Clockwise from top) One of Kahumoku’s ‘ukulele; shelves displaying some of Kahumoku’s many awards including Grammy and Nā Hōkū Hanohano awards; taking a stroll on the grounds of the farm, guitar in hand.

Notable Mentions

Melodic Music From steel guitar riffs to jazzy sax numbers, be entertained at these popular venues. Nothing quite defines Hawai‘i’s unique cultural heritage as does its music. Like the Islands, Hawaiian music continues to evolve, with diverse musical styles linked by cultural memory and, increasingly, composed and performed in the lyrical language of Hawai‘i’s native people. Some of these stellar greats can be seen on stage at Kani Ka Pila Grille. “Hawai‘i has deep musical roots, and Outrigger has long supported the perpetuation and sharing of our artistic heritage,” says Luana Maitland, events and activities manager for the Outrigger Reef Waikīkī Beach Resort. With the introduction of E Mele Ana, which loosely translates to “Come let’s sing,” Outrigger builds upon its long-time commitment and support of Hawaiian music and culture with expanded sponsorships of local events and festivals. “It’s great that (Outrigger) supports Hawaiian musicians,” says Henry Kapono, who performs at Duke’s Waikīkī at the

Outrigger Waikīkī Beach Resort on Sundays. “It’s important that local musicans get a chance to perpetuate Hawaiian music.” Visitors can now also experience world-class jazz at the legendary Blue Note, which promises great music programming with visiting musicians, as well as local talent. Located on the second floor of the Outrigger Waikīkī Beach Resort, the 9,000-square-foot facility seats more than 300 patrons in an intimate setting.

(Opposite page, clockwise from top) Bass guitar; rum cocktail; Blind Boys of Alabama at the Blue Note. (This page, clockwise from top) Nathan Aweau; Weldon Kekauoha, seated at center, with band members; and Cyril Pahinui statue.

As a further sign of its commitment to Hawaiian music, Outrigger Enterprises Group unveiled a larger-than-life statue of Philip Kunia “Gabby” Pahinui at the Waikīkī Beach Walk®. “Gabby Pahinui was instrumental in inspiring generations of musicians to perpetuate Hawaiian music,” says Ernest

Rady, the chairman, chief executive officer and president of

American Assets Trust, Inc., which owns Waikīkī Beach Walk®.

ENTERPRISES GROUP

“Gabby Pahinui was instrumental in inspiring generations of musicians to perpetuate-Hawaiian music. Waikīkī Beach Walk® is honored to serve as the home for this remarkable statue.”

“Waikīkī Beach Walk® is honored to serve as the home for this remarkable statue that celebrates Gabby and his legacy as a Hawaiian music icon.” Kani Ka Pila Grille features live entertainment nightly from 6 to 9 p.m. For schedule, call 808.924.4992. Blue Note Hawai‘i showcases two performances nightly, with doors opening at 5 p.m. for the first set at 6:30 p.m. The second set starts at 9:30 p.m. with seating at 9 p.m. 808.777.4890, bluenotehawaii.com Duke’s Waikīkī showcases nightly entertainment, starting at 4 p.m. 808.922.2268 or visit dukeswaikiki.com.

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Centuries ago when gods and people shared these Islands, and time was measured by the waxing and waning of the moon, the hula was born. The first dances were linked to Pele, goddess of volcanic fires, who made the request to her younger sister, Hi‘iaka. The Pele cycle provided the hula with a repertoire that was both religious and entertaining. Rhythmic and poetic chants (mele) combined with disciplined motion to tell stories of love and passion, anger and revenge, and loyalty and betrayal, all parts of Pele’s tempestuous nature. While the hula was distinctively Hawaiian, it evolved from the rhythmic dances brought to Hawai‘i by settlers from the Tahitian islands a thousand or more years ago. When contact between Tahiti and Hawai‘i was lost, the Hawaiian culture evolved in isolation. Hula was part of that evolution, with dancers inspired by poetic chants and paced by deep-throated, shark-skin-covered drums (pahu), gourd rattles (‘ulī ‘ulī), slitbamboo sticks (pū‘ili), tapping sticks (kāla‘au), clapping stones (‘ili‘ili) and dogtooth anklets (kūpe‘e niho ‘īlio). A well-performed hula brought honor to the gods, ancestors, chiefs, kumu (teachers) and dancers. The most renowned dancers were trained on Kaua‘i at a hālau hula (hula school) at Hā‘ena, on a hillside at the base of the Nā Pali coast’s easternmost cliffs where Hi‘iaka had once danced for Pele. Although Pele and Hi‘iaka were closely linked to hula’s origins, it was the goddess Laka, niece or sister to Pele (legends vary), who became the spiritual patron of the dance and the dancers. One chant attributes the birth of the hula not to Hi‘iaka, but to Laka, who is said to have performed the first hula on Moloka‘i. An altar to Laka graced the entrance to the hālau, with offerings of ferns, i‘ei‘e vine and other plants sacred to Laka, who was also goddess of Hawai‘i’s lush forests. As a ritual that affirmed the social and religious order, the largest performances included hundreds of synchronized dancers.

(First spread) 1930, Don Blanding art, Hula Girl (Pen and Ink Drawing); 1945 Hula duet. (This spread) 1923, three Hula girls on the beach with woman playing ipu.

(FIRST SPREAD) ©HAWAIIAN LEGACY ARCHIVE/PACIFIC STOCK; ©HAWAIIAN LEGACY ARCHIVE; (THIS SPREAD) ©HAWAIIAN LEGACY ARCHIVE/PACIFIC STOCKDESIGN PICS.

In addition to the Pele cycle, there were hula that honored the genealogies of powerful chiefs who maintained dancers as part of their retinue. Both men and women danced the hula, men wearing a simple kapa malo (loincloth of pounded bark). Women wore short kapa skirts. Haku (head garlands) brought Laka’s presence to the dancers. Anklets of dogteeth rattled as the dancers moved in unison, the chanter directing the dancers’ movements and drawing their vocal participation. Dancers were trained in movements that could be reconfigured in a wide number of storytelling formats. Hands used sign language for ideas like love or anger, or objects like the moon, rain or a fragrant flower. While there were standards and rituals attached to the dance, the hula differed from island to island, each hālau influenced by the style of its kumu. Oli (chants not danced to), mele and hula were treasured possessions, passed on from generation to generation. The Hawaiians were far less inhibited about sensuality than the missionaries who came in 1820 to teach them a new way of devil’s making. Everything about it, from the lightly clad dancers to their hip-swaying energy to the theme of other gods, offended missionary morality.

(From Left) Young women wear grass skirts and haku (head garlands) as they learn

the hula; male dancers wore only a malo (loincloth) while performing their hula.

looking at the world. For the missionaries, the hula was of the

Discipline and sensuality have always been components of the hula’s storytelling style, with movements seeking grace and perfection, offering spiritual harmony between dancers and the subjects of their dance. Missing the spiritual message and mistaking the sensual for sin, the missionaries sought to repress it, nearly eliminating its practice in the process. Luckily, in more remote places where the ways of old lingered, the hula was saved and taught. The few who knew the chants and dances safeguarded what was on the verge of being lost and paved the way to hula’s restoration as a cultural treasure. The serious revival that began in the 1970s continues, imbuing the hula with both authenticity and innovation. King Kalākaua is credited with having rescued the hula from oblivion, sponsoring performances at his coronation (1883) and birthday jubilee (1886), sponsoring its practice and expanding the repertoire with new chants and dances in keeping with Victorian era sensibilities. Well trained in the ways of old, Kalākaua’s actions were in keeping with chiefly tradition, providing an example and investing his people with a pride in their past, with hula a powerful symbol of continuity. Discipline and sensuality have always been components of the hula’s storytelling style, with movements seeking grace and perfection, offering spiritual harmony between dancers and the forming the hula required athleticism, demanding strength and stamina. There were also seated hula (hula noho) with its own difficult stylistic movements. The younger, more agile dancers (‘ōlapa) took to the performance platform, usually a grassy knoll linking dancers to Laka’s world. Older dancers (ho‘opa‘a) accompanied the chanter, added rhythmic harmony, pacing the dancers with the deep-toned beat of the sacred pahu, the sharkskin-covered drums that were treated as sacred personal possessed with mana, spirit power. Things changed with the overthrow of the monarchy when the Hawaiian past seemed irrelevant to an American future. Ironically, the hula would return to Hawai‘i in the early 20th century in a very different form than that of Kalākaua’s time or the more distant past. Hawai‘i’s mystical image had been created

subjects of their dance. Since dances could last for hours, per-

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“The natives would practice in the hot sun for days on end. Drums pounded, gourds rattled, singers chanted, and hundreds of dancers wearing garlands of green leaves and flowers and dog-tooth anklets moved endlessly to and fro in lines, their brown skin glistening with sweat, with no sign of boredom or tiredness.” (Daws, 1968). by the likes of Mark Twain and Robert Louis Stevenson as early as the 1860s. Hula troupes had been touring the Continental U.S. since the 1880s, with the hula symbolizing an exotic world coming under America’s sway. Annexation by the United States in 1898 created a new took hula mainstream began at the start of the 20th century when in-home pianos became all the rage and sheet music

replaced with bass drums, percussive gourds by guitars (stan-

became the way to market music on a national scale.

dard and slack key) and dogtooth rattles by ‘ukulele (“jumping

By 1905, Tin Pan Alley had popularized catchy melodies, introducing a style of hula that replaced the spiritual with

flea,” of Portuguese origin). Hula’s evolution as a storytelling art has moved well

the often nonsensical, the sensual with something romantic

beyond that transitory phase, allowing it not only to survive,

or naughty. Not only had the dance changed, but pahu was

but also to prosper, securing a powerful place in contemporary

(Previous page) The hula girl poster art promoted the Midpacific Carnival; (This page from left) men perform a ritual night dance; United Airlines' retroinspired hula girl poster.

national awareness of these distant Islands, but what really

Hawaiian culture that began in the 1970s and continues to this day. Presently, two styles of hula are danced, each with its own variations. Hula kahiko (ancient) follows a traditional path in terms of costume and theme that reaches back to the KalÄ kaua restoration, while hula â&#x20AC;&#x2DC;auana (contemporary) moves toward the present from KalÄ kauaâ&#x20AC;&#x2122;s time. Hundreds of hÄ lau and thousands of dancers, including many far from Hawaiian shores, dance hula, learning not only the Painted in 1925, this portrait depicts a vision of Pele watching a hula dancer perform.

movements but also its spiritual and aesthetic message. A cultural treasure on the verge of being lost is no longer endangered. Kumu and dancers perform to the highest of standards, adapting stylistically in ways that keep the hula a living art and a cultural signature that defines what is appealingly unique about Hawaiâ&#x20AC;&#x2DC;i.

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Top 5 O‘ahu A quick glance at some of O‘ahu’s more popular sights, activities and attractions.

2. MAKAPU‘U LIGHTHOUSE 1

For a relatively easy hike that boasts spectacular views, be sure to trek the Makapu‘u Lighthouse Trail. This twomile (round-trip) hike is kid-friendly and paved, except at the very top. Following the trail to the whale lookout, you can read about our winter visitors, and may be able to spot them in season (OctoberApril). Nearing the summit, stop at the overlook for views of Goat Island, Rabbit Island and Windward O‘ahu. On the clearest of days, you can see Moloka‘i and Maui.

3. BISHOP MUSEUM

Located in Honolulu’s Kalihi district, this recently renovated museum is the world’s most significant repository of Pacific and Polynesian artifacts, an imposing stone structure with more than 25 million artifacts in its collection. The museum is more than 100 years old, and includes a planetarium and science

4. PEARL HARBOR The USS Arizona Memorial’s graceful structure spans the mid-section of this sunken ship, which remains the final resting place for many of her 1,177 crew who perished December 7, 1941. The Visitor Center is an all new collection of museums, interpretive centers and shops. As soon as you arrive, get the free boarding tickets for the memorial. Shuttles also leave the Visitor Center for the USS Missouri and the Pacific Aviation Museum. 808.422.3300, nps.gov/valr.

5. PALI LOOKOUT Perched 1,000 feet over the dramatic peaks of the Ko‘olau Mountain Range, the overlook from these pali (cliffs) gives you an unparalleled view of the valleys, mountains and turquoise waters of O‘ahu’s windward side. At the Pali Lookout, you’re on top of the world. But beneath the beauty is a haunting twist: This is the site of a gruesome battle between King Kamehameha I and a rival chief, whose fight helped determine the fate of Hawai‘i. When thousands of warriors were pushed off the escarpment into the valley below, Kamehameha’s fate was sealed as the one who would unite the Islands. The view, the history and the strong gusts of wind, a signature of the Nu‘uanu Pali, let you know without doubt that this is a place of power. Off of Pali Hwy. (Hwy. 61).

Snorkelers of all levels of experience can explore this marine life conservation area. Stunning from the lookout and staggering once in the water, the turtles, sea urchins, eels and a living coral forest are pure underwater spectacles. Visitors can rent equipment and lockers at the beach and are required to watch an educational video before entering the park. Open daily except Tuesdays. Parking: $1 per car. General $7.50, children 12 and under and Hawai‘i residents free with proof of residency. 7455 Kalanianaole Hwy., 808.396.4229, honolulu.gov/parks.

center, the impressive Hawaiian Hall and precious artifacts from pre-contact times. 1525 Bernice St., 808.847.3511, bishopmuseum.org.

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