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Daily Smile: Thursday, February 19, 2026

Since my friend came over with her dog I haven't seen my cat anywhere, then I noticed this...

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Daily Smile: Wednesday, February 18, 2026

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Daily Smile: Tuesday, February 17, 2026

Your grandma looked after your dog this summer...

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Daily Smile: Monday, February 16, 2026

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Daily Smile: Sunday, February 15, 2026

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Daily Smile: Saturday, February 14, 2026

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Daily Smile: Friday, February 13, 2026

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Daily Smile: Thursday, February 12, 2026

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Daily Smile: Wednesday, February 11, 2026

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Kelli Shiroma Braiotta

Food & Dining

, is now open to the public. The Pinehopple Room is located on the second floor, directly above the Kaka

The space was previously home to the HI Brau Room, Aloha Beer Co.’s speakeasy that the biz operated primarily as a private event space.

“We always loved the room and felt like it had so much character,” says Candice Ishikawa, Aloha Beer Co.’s head of marketing and brand. “People who discovered it seemed to immediately fall in love with it, and we saw an opportunity to reimagine the space as something more distinctly connected to Aloha Beer and to Hawaiʻi, while opening it back up for more people to enjoy.”

Ishikawa explains that The Pinehopple Room concept came from the idea of taking the creativity and craft that goes into brewing beer and applying that same spirit to cocktails and hospitality.

“We wanted to create an intimate, upscale lounge that still felt unmistakably part of Aloha Beer, while offering a different side of Aloha Beer from the casual beer garden downstairs,” she says. “The name ‘Pinehopple’ comes from our logo icon and is a play on pineapple and hops, bringing together something immediately evocative of Hawaiʻi, with our roots as a brewery.”

[{"type":"text","text":"The venue’s name impacted its décor and ultimate vibe."}]

“We didn’t want to lose the darker, intimate character that made the original space special, so we built it with a vintage Hawaiʻi-inspired aesthetic, adding tropical botanicals, greenery, warm lighting and other details that make the room feel lush and inviting,” Ishikawa says.

She says The Pinehopple Room’s beverage program is where “the concept comes to life.” The drinks were inspired by the golden age of Hawaii cocktail culture, but the team wanted to bring its own unique twist to the beverages.

“We kept coming back to the idea that classic Hawaiʻi cocktails deserve to be remembered, not simply replicated,” Ishikawa says. “We’re taking those flavors and traditions, and reinterpreting them through fresh ingredients, thoughtful technique and our perspective as a craft brewery.”

So far, popular cocktails include the tropical itch ($18), Molokai fogcutter ($16) and paradise of the Pacific ($21). The tropical itch is made with 

bourbon, rum, orange curaçao, lilikoʻi, pineapple and a dark rum float; the Molokai fogcutter features aged and white rums, pineapple, lilikoʻi, lemon and orgeat; and paradise of the Pacific includes aged rum, tamarind, pineapple and hibiscus grenadine, according to Ishikawa.

Customers can also enjoy a scorpion bowl for two ($38), which is served in a vintage-inspired fish bowl. The drink is designed to be shared and also doubles as a fun centerpiece for the table, according to Ishikawa.

She also explains that The Pinehopple Room team is excited to offer a series of guided spirit flights.

“Guests can explore bourbon, Scotch, international whiskies, agave spirits, and Caribbean rum or Hawaiʻi-made rum, with a guided tasting sheet that provides some background and context for each pour without making the experience feel overly formal,” she says.

Customers can also enjoy light bites that pair naturally with the cocktails. Highlights include Pinehopple sashimi trio (market price) — served with a lilikoʻi-wasabi glaze — Pinehopple shrimp cocktail ($12), spinach dip salmon belly bites ($18), Cuban sliders ($13), paprika chicken pops ($18) and a salami caprese flatbread ($15).

“On the food side, we wanted dishes that were easy to share and felt at home alongside the cocktail program,” Ishikawa says.

The Cuban sliders feature brioche buns stuffed with mayo-mustard, ham, kalua pork, Swiss cheese, pickled cucumbers and cilantro-orange sauce. The paprika chicken pops comprises chicken drummettes in paprika batter, served with blue cheese honey-Red Zeppelin buffalo sauce and celery curls. So far, the chicken pops, spinach dip salmon belly bites and sliders have been customer favorites.

Ishikawa explains that The Pinehopple Room team has been excited to welcome guests and have them experience “the way different kinds of craft come together in one space.”

“Pinehopple is also about the experience around what’s in the glass,” she says. “There’s a sense of nostalgia and vintage Hawaiʻi hospitality without trying to recreate a specific era. We want it to feel special, but never overly formal — a place where people can slow down, connect and stay awhile.”

The Pinehopple Room is currently open from 5 to 11 p.m. on Fridays and Saturdays. The lounge does not have a formal reservation system set up and is primarily open for walk-ins, but if a customer calls ahead, the venue can hold a table for them, according to Ishikawa.

“Aloha Beer has always been about creating places for people to gather, and Pinehopple gives us a new way to do that,” Ishikawa says. “Someone can have a beer in the beer garden downstairs, then head upstairs for a cocktail or whiskey flight and feel like they’ve stepped into an entirely different experience without ever leaving Aloha Beer. We’ve loved this room for a long time, and we’re excited to finally open the doors and share it with more people.”

The Pinehopple Room decor 092826

<title>The Pinehopple Room is a new upstairs lounge in Kakaʻako</title>

Located upstairs from Aloha Beer Co. on Queen Street, The Pinehopple Room — previously home to the HI Brau Room speakeasy — recently opened to the public. The upscale lounge features a vintage Hawaiʻi-inspired aesthetic, along with classic Hawaiʻi cocktails with a modern twist.

The Pinehopple Room is a new upstairs lounge in Kakaʻako

De Soto 2025

DeSoto Brown

Hawai‘i History

Columnists

Do you remember Ward Warehouse? It was something of a landmark in Kaka‘ako once, but after being demolished nearly 10 years ago it’s now on its way to being forgotten.

The Ward family is foundational to the history of Kaka‘ako. Back in the 19th century, the clan came to own a large tract of land stretching from their private home that was just across King Street from Thomas Square, all the way down to what is now Kewalo Basin. This ownership, of course, is the origin of the name Ward Avenue for the street that formed most of the boundary of the property on its ‘Ewa side.

By the middle of the 20th century, the Ward land contained a mix of private homes and a variety of business tenants. The family-owned corporation that managed the property, Victoria Ward Ltd., started taking small steps towards more lucrative tenants in the 1950s but ramped up its redevelopment goals in the early 1960s by constructing a series of modern, low-rise structures.

A major new commitment came in early 1974 with the start of construction of Ward Warehouse on a 4.1 acre site between Ala Moana Boulevard, Ward Avenue and Auahi Street. The location had some special considerations in that it was covered by two very different types of zoning: one was for retail while the other was strictly for wholesale and industrial uses. The latter category was slightly problematic for what was intended as, essentially, a shopping center open to the public, and initially required a careful selection of tenants.

Designed by architect Steve Au, Ward Warehouse had a notably 1970s appearance. The hippie movement in the USA by this time had popularized more earthy, natural materials, so the complex’s exteriors were dark-stained wood, inspired in particular by a trend-setting development called Sea Ranch in California from the late 1960s. The only outside decorations were sections of bold painted “supergraphics” in geometric patterns. Industrial elements were not covered up but were openly displayed; on the outside, pipes and fittings were painted in bright colors to show them off, along with some oversized machine parts that were installed purely as decor. Inside the rental spaces, high ceilings showed undisguised conduits, light fixtures and air-conditioning ducts. Floors were concrete and walls were mostly unpainted wood. The effect was “honesty” in materials vs shiny synthetic surfaces.

Ward Warehouse opened with 87 tenant spaces; some interiors had the potential for the construction of mezzanines. Parking on the ground level accommodated 250 vehicles while the four-level concrete garage had 400 more spots. A soft opening for some businesses took place in time for Christmas 1974. By April 1975 the complex was placing large display ads in the Honolulu newspapers.

Those who are old enough to have patronized Ward Warehouse will undoubtedly remember particular stores or restaurants they regularly visited. For many people, the Old Spaghetti Factory at the far ‘Ewa end, with its two-story interior spaces, was surely a favorite (it has since moved to Aloha Tower). Embellished by numerous antique light fixtures and other old-time props which the company had been able to accumulate when such items were mostly inexpensive salvage goods from the demolition of 80- or 90-year-old structures in the USA, the low-cost restaurant had a unique feeling in its diverse seating areas.

Of course many other businesses came and went through Ward Warehouse over the years. There was the Liquor Collection which was filled with limited-edition figural ceramic specialty bottles, stores just for outdoor furniture, kitchenware, and flags, and the Nohea Gallery for local artwork of all kinds.

Ward Warehouse was never intended to last throughout the ages. A 1969 newspaper article quoted a statement from Victoria Ward Ltd that said offices and high-rise structures were eventually planned along Ala Moana Boulevard. Closure of the shopping center came on July 31, 2017 followed by demolition that began in November.

Howard Hughes Corporation, by then the owner of the site, first announced that two “ultraluxury” towers would soon rise here, the Ward Village Gateway. One of these was to be the 

 with units offered for prices ranging from $1.3 million to $23 million; these were first put on sale in 2015. But in 2018 the entire project was dropped, even after Howard Hughes had spent $29 million on it, and 28 of the 125 apartments in the Cylinder had been sold. In 2019 Victoria Place was approved for construction on the Waikīkī end of the property. Next to it was the start of the new Victoria Ward Park which would eventually occupy what had been the center part of Ward Warehouse.

However, it wouldn’t be until 2025 that one of the familiar construction cranes would finally be erected on the rest of the former Ward Warehouse, signaling yet another of the Kaka‘ako condominiums to come: Kalae.

1 Ward ad 1 16x9

<title>Changing Kaka‘ako: Remembering Ward Warehouse</title>

Ward Warehouse was never meant to last — even the previous owners who built it, Victoria Ward Ltd, always intended for offices and high-rises to take its place. But it had a four-decade run from its 1975 opening to its 2017 demolition, featuring such businesses as Old Spaghetti Factory, Orson's, The Liquor Collection, Nohea Gallery and more. Here's a look back at the shopping center, including a glimpse of the neighborhood before Ward Warehouse came along and fishing, rather than shopping, was the area's industry.

Changing Kaka‘ako: Remembering Ward Warehouse

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Stephanie Salmons

Business & Tourism

Aloha Spirit

Hale Hōkūala Kaua‘i, Curio Collection by Hilton, a new 210-room lifestyle resort on Kaua‘i, has opened in Līhu‘e.

Marking Curio Collection by Hilton’s debut in Hawaiʻi, the property brings the brand’s focus on individually remarkable hotels and memorable stays to one of the world’s most sought-after island destinations," according to a recent announcement from the resort. "Overlooking Nāwiliwili Bay and neighboring Kalapakī Beach, Hale Hōkūala introduces travelers to the island through contemporary design, destination-driven dining, cultural programming and outdoor recreation."

Located within the Hōkūala Resort community, 

— its name means "House of the Rising Star" — offers up 23 suites, open-air spaces, private lānais, and views of the Pacific, Hā‘upu Mountain and the Ocean Course at Hōkūala, the announcement notes. 

"Curio Collection by Hilton is a collection of hotels that are defined by their individuality and connection to place. What makes Kauaʻi such a perfect fit is that this island has a character all its own," General Manager 

 told Aloha State Daily in an emailed response to questions. "While visitors are drawn by the incredible natural beauty, what truly makes Kauaʻi special is the people, the culture and the sense of community. The aloha here is genuine. It's something you feel in the way people welcome you, share their stories and care for this place.

"That's what sets Hale Hōkūala apart from a more typical hotel experience. It's not just about offering a place to stay. It's about creating opportunities for guests to connect more deeply with the island, its culture and the community that makes Kauaʻi so unique."

According to Itoga, construction on the resort began in the third quarter of 2024.

[{"type":"text","text":"Here's what else you'll find at the property:"}]

[{"type":"text","text":"Amenities and other features"}]

Hale Hōkūala was designed by Hart Howerton and AHL, with interiors inspired by the Garden Isle landscape from Looney & Associates.

Guest rooms have floor-to-ceiling windows and private lānais, the announcement notes, while the interiors draw colors and textures from around the island.

On the property, you'll find a pool and fitness center, with access to a full-service spa, wellness programming, tennis and pickleball courts available within the broader Hōkūala resort community, the announcement notes. Other outdoor offerings include preferred tee times at the Jack Nicklaus Signature Ocean Course at Hōkūala, more than five miles of trails, complimentary bicycles and beach amenities, as well as other open green spaces.

You can also check out The Farm at Hōkūala, showcasing canoe plants, native crops and other agricultural traditions.

The property offers more than 14,000 square feet of flexible indoor and outdoor event space that can be used for the likes of meetings, weddings and other celebrations and group gatherings.

The resort's culinary program is led by Executive Chef Hans Lentz and Director of Food and Beverage 

Its signature restaurant, the Portuguese-Hawaiian concept Figueira, overlooks the 18th hole of the Ocean Course at 

Hōkūala and honors Portugal's influence on Hawai‘i's food culture, the announcement notes.  The name comes from the Portuguese word for "fig tree" and its menu includes pineapple French toast with Kuleana Rum caramel, Kaua‘i prawns, Portuguese fisherman's stew, bacalhau no forno, pastel de nata and malasadas.

Thirsty? You'l be able to grab Hawaiian-grown coffee, local craft beer, cocktails and a curated wine list with both Portuguese and global labels, the resort says.

Meanwhile, The Wiliwili at Hale Hōkūala is a causal poolside eatery that offers poke bowls, plate lunch specials, shave ice, pūpū, tropical cocktails, zero-proof choices, juices and smoothies made with local ingredients, the announcement notes.

Both concepts were developed by StiR Creative, Hilton's in-house food and beverage consultancy.

The resort's signature cultural immersion program, 

, which means "the awakening of connection," is "built around ongoing relationships with cultural practitioners, nonprofits, historians, artisans and educators," the resort says, and offers on-property activities, off-property excursions and culinary storytelling.

According to the announcement, the Kaua‘i Museum is the inaugural partner for a series that explores the Garden Isle's "history and creative expression within the broader Hawaiian story." Future programing will spotlight agriculture, lei making, traditional aquaculture, land stewardship, hula and Hawaiian storytelling.

"Kauaʻi has a spirit that's difficult to describe until you experience it," 

 says. "The island's beauty is obviously extraordinary, but what leaves the deepest impression on visitors is the people, the culture, and the genuine sense of community. There's an authenticity here that isn't manufactured. It's reflected in the way neighbors care for one another, the pride people have in preserving local traditions and the aloha that's shared every day.

"The Curio Collection provides a platform to celebrate those qualities rather than define them," he continued. "The goal isn't to bring something new to Kauaʻi, but to create a resort experience that honors what's already here and helps guests connect more deeply with the island, its stories and its people. We believe travelers today are looking for meaningful experiences, and Kauaʻi offers that in a way that's truly unique."

When asked what kind of response he's anticipating with the opening of the resort, 

we hope guests experience the genuine spirit of aloha that makes Kauaʻi so special."

[{"type":"text","text":"The resort is designed to be more than a place to stay, he says."}]

"We want it to feel welcoming, comfortable and familiar, a place where guests can truly relax and connect with Kauaʻi," Itoga continued. "What makes that experience special is our people. The majority of our team members are local residents, many born and raised on Kauaʻi. This is their home. They know the community, they care deeply about this island and they take pride in sharing its culture, traditions and history with our guests.

"Whether guests spend their time exploring the island or simply slowing down and enjoying the moment, we want them to feel the warmth and care that are such a natural part of life here. Our hope is that they leave with more than memories of Kauaʻi's beauty. We hope they leave feeling connected to the people, the place, and the spirit of aloha that makes this island so special."

Hale Hokuala Kauai exterior 100126

<title>Hawai‘i's first Curio Collection by Hilton resort now open</title>

You'll find Hale Hōkūala Kaua‘i within the Hōkūala Resort community in Līhu‘e. The resort is designed to be more than a place to stay, General Manager Jon Itoga told Aloha State Daily, noting, that "the goal isn't to bring something new to Kauaʻi, but to create a resort experience that honors what's already here and helps guests connect more deeply with the island, its stories and its people."

Hawai‘i's first Curio Collection by Hilton resort now open

Ray Tsuchiyama

Every weekday afternoon at 4:30, I pick up my granddaughter.

Sometimes while waiting in the parking lot, I answer an email from a Tokyo client. My work doesn't stop just because the school day is ending; it simply gets folded into whatever gap exists before 4:30.

Then it is time to pick up my granddaughter.

The contrast is almost comical. One minute I am updating escrow about a multimillion-dollar transaction; the next, I am fastening a child into her car seat, listening to who was “mean” to her and asking whether I have been a good “Jiji” today.

Yet there is a fundamental connection between the two, and it is not a small one. My being there at 4:30 makes it possible for her parents to stay at work.

I am part of Hawaiʻi's childcare system. I just don't show up in the childcare statistics.

That is not to say grandparents can replace preschool. Quite the opposite. I have never been more convinced of the difference between the two than I am now, watching early childhood education happen five days a week.

I see daily what preschool provides my granddaughter that I cannot. She talks about learning "A" for alligator. She says, “Good morning, how are you today?” respectfully to her teacher. She has learned to share toys and navigate relationships with her classmates.

These may sound like small things. They aren't. They are the essential building blocks of early social development and preparation for elementary school. Jiji is not going to lead a structured lesson on phonics or spelling. That is not a criticism of grandparents; it is an accurate description of what a classroom is actually for.

We must be careful not to confuse childcare with early education. They are distinct entities doing different work. Hawaiʻi's policy conversations should be honest about that distinction, rather than treating "somebody is watching the kids" as interchangeable with "somebody is teaching them."

At the same time, the two are inextricably linked. A family that cannot solve the first problem — supervision — never gets to benefit from the second — education. A child who needs supervision at 4:30 p.m. and cannot get it from a licensed, affordable after-school program does not simply do without. A grandparent, an aunt, or a neighbor absorbs the gap instead. And whatever early-learning or structured enrichment value a formal setting would have provided goes missing along with it.

This is where Hawaiʻi needs to start asking a different, broader set of questions about childcare.

When we talk about Hawaiʻi's childcare crisis, policy makers tend to count only what is easily visible: licensed centers, available slots, registered childcare workers, preschool enrollment, subsidies, and out-of-pocket costs. The state's Ready Keiki initiative, for instance, tracks its progress toward universal access for three- and four-year-olds largely through formal metrics — seats built, classrooms opened, and shrinking waitlists.

All of those metrics matter. None of it is wrong to count.

But what about the grandmother who watches a grandchild until a parent gets off a late shift? The aunt who takes care of two nieces every Wednesday? The hānai cousin who steps in when a parent's work schedule changes with two days' notice because the alternative is losing the job? 

What about the parents themselves — the ones who adjust their working hours, decline a promotion, or leave the workforce altogether because they cannot find care they can afford or 

These individuals are essential components of Hawaiʻi's childcare system. Yet much of this labor remains invisible. A family absorbing the gap through a grandparent or a neighbor never shows up on an official state waitlist. Statistically, that family looks like a household with no need at all.

Before we can solve this problem, we should determine the true scope of the system we already have. Imagine a comprehensive map of Hawaiʻi's entire early-childhood ecosystem — not just licensed facilities.

 How many are there? How old are they? Where do they live?

 Who takes care of them during the day, before and after school, on weekends, and during school holidays? Some will be in childcare centers or preschools. Many will be with grandparents, extended family, friends, or neighbors (“FFN”). Some parents will be attempting to do the work themselves, juggling split shifts or working from home with a toddler running around the living room.

 How many parents are working? How many could work more hours or take a higher-paying job if reliable childcare were accessible? How many have already reduced their hours or left employment altogether — a trend that appears consistently in statewide surveys and ripples outward to every local employer struggling to fill shifts or retain trained staff?

 Are the shortages identical in Honolulu, Hilo, Kahului, and Līhuʻe? A Neighbor Island shortage looks vastly different from an urban Oʻahu shortage — fewer providers competing for thinner margins, paired with longer travel distances between existing care and family homes.

 Even for a dual-income family, a median $1,000 to $1,300 monthly fee for licensed preschool represents a substantial hit to the household budget. What does formal care actually cost families? What does the state spend?

What is the economic value of all the unpaid care that families currently provide on their own?

That last figure is astronomical. Suppose Jiji provides two hours of childcare a day, five days a week, for 50 weeks a year. That is 500 hours a year. At $20 an hour, that equates to $10,000 worth of care. At $25 an hour, it reaches $12,500. Multiply that across tens of thousands of families statewide — grandparents, aunts, uncles, and neighbors all stepping up at 4:30 p.m. — and the value of Hawaiʻi's invisible childcare workforce runs into hundreds of millions of dollars. It is an economy quietly sustained by free kūpuna labor.

Beyond the direct hours, there is an additional layer of economic value: the parent who can hold down a job because Auntie Leilani is available. That is a paycheck earned, taxes paid, and a local business that does not lose a valued employee to a coverage gap.

Our informal care network is currently subsidizing Hawaiʻi's entire labor market — for free, indefinitely, and with no guarantee that it will still be there for the next generation.

Childcare is not simply a social service or a favor rendered by loving relatives. 

Before We Subsidize: Mapping Hawaiʻi’s Childcare Care Economy

[{"type":"text","marks":[{"type":"textStyle"}],"text":" "}]

ay Tsuchiyama’s series explores one central question: How does Hawai‘i use the wealth and land it already has to create its next economic future? He can be reached at 

Grandparent with child i Stock 2161371957

<title>Hawaiʻi’s Invisible Childcare Subsidy: Free Kūpuna Labor</title>

In the first of a two-part series, ASD columnist Ray Tsuchiyama explores the economics of the childcare crisis in Hawai‘i, including the dimensions we're not talking about, but should.

Hawaiʻi’s Invisible Childcare Subsidy: Free Kūpuna Labor

Katie Helland Headshot

Katie Helland

Arts & Entertainment

‘Ukulele virtuoso Brittni Paiva just released “Through the Chaos,” an album which blends electronic, pop and contemporary sounds. Paiva, who was born and raised in Hilo, now calls Oʻahu home. This is her first album in 14 years.

“All of my previous albums did contain a few originals, but mostly covers,” she told Aloha State Daily. “This [album] tells more of a personal story of the things that went on during those 14 years — just learning to be my own person and dealing with not so nice people, and a lot of things like that — even battling mental health and addiction, as well.”

The four-time Nā Hōkū Hanohano Award winner released her newest album, “Through the Chaos,” on Friday, Sept. 18. It was co-produced by Paiva and 

It follows her album “Tell You What,” which dropped in 2012. Paiva began working on “Through the Chaos” after touring the world and performing with stars such as 

This weekend, she will play music from her new album in back-to-back concerts, featuring special guests such as 

, Kalena and Kalaʻe Parish, and Clara Stegall, one of the Henry Kapono Foundation’s 

 in Hawaiʻi Kai. The shows will be at 5 p.m. and 8 p.m. on Saturday, Oct. 3. 

“I really wanted to put all of that into song and share my story with my listeners, and let everybody know ʻHey, music is healing, and this is my story, and I hope it can help you with anything that you're going through as well.’ ”

Paiva was three years old when she started playing classical piano. Eventually, her grandfather gifted her a 

 from the 1950s that had belonged to his mother.

“From the moment I picked it up, I was like, ʻYeah, I'm gonna continue playing this.’”

She took lessons for a few years and then eventually stopped to learn on her own. Her first album came out when she was 15 years old.

The recording artist and songwriter’s newest album, “Through the Chaos,” starts with the track “God Mode,” which is named after a cheat code that makes a player invincible to damage in a video game.

“ʻGod Mode’ is a song that I wrote about people saying not nice things to you,” she said. “And it's that moment where you are finally able to let go of those things and realize that they do not affect you. They no longer bother you.”

The song even includes “Shhh,” when she tells the voices saying harmful things to be quiet.

“ʻComment Section’ is another one that people are really liking,” she said. “That one takes the ʻukulele into the drum and bass territory.”

The song is inspired by things people have said in real life and on social media, she said.

“It's kind of an anti-bullying track in a way,” Paiva said.

Other songs on the album have titles, such as “Could Have Been a Mess,” “Say When” and “To the Moon and Back.”

Will readers have to wait another 14 years for the next album?

[{"type":"text","marks":[{"type":"textStyle"}],"text":"She laughs."}]

“We’re just getting started,” Paiva adds.

Brittni Paiva

<title>Brittni Paiva and ʻGod Mode’</title>

This Hilo-born ‘ukulele virtuoso, who released her first album when she was just 15 years old, is back with new music. The recording artist recently shared her first album in more than a decade. This weekend, she will play music from “Through the Chaos,” at Henry’s at The Lounge in Hawaiʻi Kai.

Brittni Paiva and ʻGod Mode’

Square Mike Brestovansky Headshot RGZ3736 Large

Michael Brestovansky

Crime & Courts

The woman charged with murder after allegedly fatally shooting a man in Kailua last weekend was turned in by her father the day of the event, according to a Honolulu police report.

Hilinaikailimakualopali Keeno, 24, was charged on Sept. 30 with second-degree murder, carrying a firearm in the commission of a felony and improperly keeping a pistol or revolver. She is being held pending a $1 million bail.

An HPD document — which was submitted on Tuesday, Sept. 29, to the Honolulu Circuit Court to establish probable cause to detain Keeno without a warrant — states that Keeno’s father brought her to the Kailua Police Station less than an hour after 

was declared dead of a gunshot wound to the neck in the Kailua Target parking lot.

The report states that HPD special duty officers, who were working security at the Kailua Fall Festival that day, were called to assist with a group of festivalgoers involved in an argument at about 8:26 p.m. on Saturday, Sept. 26.

Officers escorted the group out of the festival and watched them head toward the Target parking lot, only to hear another altercation begin among the group minutes later.

During this new altercation, a pop resembling a gunshot was heard, and officers saw two men — one of whom was Keeno’s brother — assaulting a third. Both assailants were placed under arrest for disorderly conduct, while officers discovered Malone on the ground, covered in blood.

[{"type":"text","text":"Malone was declared dead at the scene by 8:43 p.m."}]

At 9:39 p.m., Keeno was brought to the Kailua Police Station by her father, who told police she was involved in the incident and wanted to provide a statement in the presence of her attorney.

According to the HPD report, no interview was conducted with Keeno that night. Subsequently, HPD sought photographs and videos from the public to help piece together the event and identify the shooter.

On Sept. 28, another witness identified Keeno as the shooter, and HPD confirmed that Keeno has one firearm registered in her name, a Sig Sauer P365 handgun.

[{"type":"text","text":"Following this, Keeno was placed under arrest."}]

Keeno’s preliminary hearing, when she will plead guilty or not guilty to the charges, will take place Monday, Oct. 5. She remains in custody.