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A Le Jeune headshot small

Annabelle Le Jeune

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Sterling Higa

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Adam Keawe Manalo-Camp

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Kelli Shiroma Braiotta

Food & Dining

First things first: The “missing grass shack” 

 that Sumida Farm posted on April 1 was an April Fool

’s joke. The shack is not lost and is still present at the ‘Aiea farm, according to general manager Kyle Suzuki.

“It was a good reminder that the farm and the shack won’t necessarily be here forever,” he says. “We are here because of the support of the community.”

While the farms didn’t suffer as much damage as others following the Kona Low storms in March, 

Sumida Farm’s watercress was definitely impacted

, according to Suzuki. He explains that watercress season typically starts in March, but with the constant heavy rain and little sunshine last month, the season was delayed.

“The reality is, with the Kona Low storms, it did stunt the growth of our watercress,” Suzuki says. “Too much rain means not enough sun. This year, we are four to six weeks later; it (watercress season) will run into June. This year will be a little shorter than normal. Watercress growth depends on heat, humidity and weather.”

While the farm does have watercress now, Suzuki says that within the next few weeks, its fields should be full. To celebrate the start of watercress season this month, Sumida Farm is launching a variety of different collaborations:

Please Come Again: Watercress ginger lime sorbet

Sumida Farm partnered with the Kailua-based ice cream shop last year to create this flavor. It was a hit with customers, so 

“Sumida Farm chef Elijah Madayag made a watercress ginger lime syrup, and they turned it into a sorbet,” Suzuki says. “You taste the watercress, but it has a sweetness; the bite pairs well with the lime and ginger. It was a popular flavor for Please Come Again last year, so we’re excited to have that again this year.”

The watercress ginger lime sorbet will be at Please Come Again while supplies last.

Restaurant collabs: Tali's Bagels, Alan Wong's at The Kāhala and more 

Several Oʻahu restaurants are incorporating Sumida Farm watercress in their menus. Watercress is featured in a variety of permanent dishes, along with seasonal specials.

Tali’s Bagels launched a Passover-related special that featured watercress in a bread-free meal alternative. Its seasonal bitter herb salad ($15) is a Seder inspired salad made with Sumida Farm watercress and Waialua Growers parsley. It’s topped with housemade pomegranate horseradish dressing, seasoned matzo croutons, ponzu pickled eggs, beets and pomegranate seeds.

“They said during Passover, a symbolic component is bitter, leafy greens,” Suzuki explains. “They paired our watercress with ponzu pickled eggs and baked croutons.”

While the salad is only available until April 12, starting April 15, Tali’s Bagels will run another watercress-inspired special. The Sumida Schmear will be available through watercress season, and the vegan-friendly schmear is inspired by tofu watercress salad.

“Instead of cream cheese, they’re going to use a tofu spread,” Suzuki says. “It’s our tofu watercress salad in spreadable form. It will be available at Tali’s Bagels Ward and Kailua locations through the month of April.”

officially opened to the public at The Kāhala Hotel & Resort

, also features Sumida Farm watercress in one of its salads.

“We have a longtime relationship with chef Alan Wong,” Suzuki says. “We’re so fortunate he continues to highlight local farms. He’s highlighting our Sumida Farm Leko — our younger varietal — in his kalua pig Caesar salad. That’s really exciting that he has that on his opening menu; we’re really excited to have him feature it.”

Chinatown-based O’kims Korean Kitchen is featuring Sumida Farm watercress in its meat jun, which is an April special.

“They used so much watercress last year,” Suzuki says. “I remember when we met with chef, and she ended adding watercress to almost everything on her menu last watercress season.”

Other eateries using watercress include Kailua-based Faria — the eatery recently ran a roasted bone marrow special with watercress “milho verde,” according to Suzuki — and Breadshop in Kaimukī.

Faria's bone marrow was served on a bed of lemon-herb watercress salad. The restaurant told Suzuki it was a huge hit with their customers.

“It was an honor to have them think about using our watercress,” Suzuki says.

“Every once in a while, Breadshop drops their watercress goat cheese Danish,” he adds. “It’s always in limited quantities. It’s an interesting, savory way to create a Danish with our watercress.”

Aside from restaurant collabs, the farm recently did a kokedama collaboration with Momo Terrascapes. (Kokedama translates to “moss ball” in Japanese, and features a gardening art form.)

Sumida Farm invited Chase Hamano from Momo Terrascapes to visit the farm, and he wanted to make something inspired by the farm and its field workers.

“It’s just a fun, different way to collab during watercress season,” Suzuki says. “We love partnering with restaurants and chefs; that’s the best way to enjoy our watercress — to eat it. We love to have artists and creators out to visit, so they can bring their creativity to tell stories about our farm, too.”

Suzuki says that within the next few weeks, watercress should be easier to find in grocery stores.

“Every year is a little different,” he says. “This year has been an exceptional year in how wet it’s been. But we feel very fortunate that, despite being slowed down, that we can still farm and grow watercress and get it out to the community.”

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Sumida Farms farm picture 040926

<title>Sumida Farm launches collabs to celebrate watercress season</title>

The farm's watercress season was delayed as a result of heavy rains from the Kona Low storms in March. Sumida Farm is celebrating the start of watercress season this month with a series of collaborations with other local businesses.

Sumida Farm launches collabs to celebrate watercress season

Christian Shimabuku Headshot

Christian Shimabuku

Sports

Since breaking off from the Mountain Pacific Sports Federation in 2018, the six-team Big West Conference has been viewed as one of the toughest in collegiate men's volleyball from the very beginning. 

 in the conference are ranked in the AVCA national collegiate poll. 

With two full weekends remaining, the University of Hawai‘i men's volleyball team has a chance to rise from the gauntlet and win the Big West regular season title as soon as Friday. The Rainbow Warriors are currently 23-3 overall and 6-0 in conference play with series sweeps over 

Conference play for the 'Bows continues with matches at UC San Diego on Friday and Saturday, with first serve beginning at 4 p.m. HST for each contest. 

If UH were to win both matches, they would automatically clinch the Big West regular season title and top seed in the conference tournament regardless of what happens in its final home series of the year against CSUN on April 17-18. By virtue of their victories over Long Beach State (18-4, 4-2 Big West) and UC Santa Barbara (13-9, 4-3), the two teams beneath them in the conference standings, Hawai‘i has already clinched the tiebreaker over both squads. 

"It's not a place where you really go and think about but I like 6-0 better than 0-6 for sure," Hawai‘i head coach Charlie Wade said when asked about the team's favorable position in the standings. "We've been pretty consistent. There's been some peaks and valleys, but at the end, before the night's over, we've found a way to win. And that part, we've been consistent."

UH's road series at UC San Diego will serve as the second consecutive week the 'Bows have been on the road. After its most recent series against UC Irvine ended last Saturday, the UH returned home to O‘ahu, with Wade placing value in his players sleeping in their own beds and attending classes in person during the first half of the week. 

Another trek to Southern California means another opportunity for the program's Mainland fans to support the 'Bows, which Wade says has come in bunches. 

"It really is pretty special. I wouldn't say we expect it, we're really appreciative of everybody coming out, more so on the West Coast, but even when we get all the way to the East Coast and different places, there's a lot of lot of people wearing green in those crowds," Wade said. "And it's pretty awesome."

UH men's volleyball 040926

<title>Hawai‘i men's volleyball closes in on Big West regular season title</title>

The Rainbow Warriors could see themselves clinch the top seed in the conference tournament as early as Friday.

Hawai‘i men's volleyball closes in on Big West regular season title

Pua headshot

Puanani Fernandez-Akamine

Arts & Entertainment

Leināʻala Kalama Heine, beloved kumu hula and founder of Nā Pualei o Likolehua, left behind an indelible hula legacy that continues to thrive under the leadership of her oldest daughter, Kumu Hula Niuliʻi Heine.

Established in 1976 amid the Hawaiian Renaissance, Nā Pualei o Likolehua is celebrating its 50th anniversary this year, which will include competing at the 

The story of Nā Pualei, as shared by Niuliʻi, is more than a story about perpetuating hula; it is a story about enduring love.

Trained as a dancer by noted kumu hula like Joseph “Uncle Joe” Kahaulelio and sisters Leilani and Puanani Alama, as a young woman in the 1960s Kalama Heine danced professionally at various “lūʻau shows” for popular musicians including Vickie Iʻi Rodrigues. When Kumu Hula Maʻiki Aiu Lake advertised in 1972 that she was starting a kumu hula class, both Kahaulelio and Rodrigues urged Kalama Heine to sign up.

“My mom really wasn't ready,” recalled Heine who was about 8-years-old at the time. “She just liked dancing and traveling. [But] my grandmother, Rebecca Kalama, told her that she needed to become a teacher of hula.”

Kalama Heine ultimately listened to her mother and her mentors, becoming part of Aiu Lake’s first, and largest, master class: Papa Lehua. The class included her close friend, Robert Cazimero. Both Cazimero and Kalama Heine completed their ʻūniki (graduation) ceremonies in 1973. Another friend, Wayne Keahi Chang, was in Papa ʻIlima, Aiu Lake’s second master class.

At the time, both Cazimero and Chang were working at Kamehameha Schools (KS), training haumāna in the schools’ Concert Glee program to dance hula. Because of her close friendship with them, Kalama Heine agreed to train the female students while they concentrated their efforts on the boys.

Heine says that her mother initially envisioned establishing a hālau together with Cazimero and Chang, but in 1975 they formed Nā Kamalei o Lililehua – an all-male hālau comprised of their KS students. Instead, Cazimero urged Kalama Heine to form her own hālau and Nā Pualei o Likolehua was born on February 24, 1976.

The handful of young women she was training from KS Concert Glee, formed the core Kalama Heine’s original group of dancers, along with some of the other women from Aiu Lake’s Papa Lehua and Papa ʻIlima classes. “Lahela Kaʻaihue, Aunty Vicky (Holt-Takamine), Jade Hind and Tootsie Cazimero, Uncle Robert’s sister. They had ʻūniki from Aunty Maʻiki but hadn’t yet formed their own hālau(s) so they gravitated to my mom because they all hung out together,” Heine said.

“From that point on it was like a brother-sister hālau because Uncle Wayne and Uncle Robert and my mother were so close,” she added. “That’s how it always was through the years.”

Under Kalama Heine’s guiding hand, the hālau blossomed. In 1977, Kalama Heine took her new hālau to the Merrie Monarch Festival. The caliber of Nā Pualei’s debut performance at the festival was such that they took first place in Hula Kahiko, receiving a perfect score, and winning first place overall in the Wāhine Division.

For Heine, who was there and witnessed the performance, the experience was life changing. She had quit dancing hula several years earlier when she was about 10 years old. “I didn’t want to dance hula. I told my mom, ʻI’m over it. I’m going to play sports,’” Heine admitted.

“But then, after the performance, I told her, ʻMom, I want to dance hula, and I want to dance for you.’ It was because I had seen excellence on that floor and it shocked me into doing something better.”

One of the things that set the hālau’s kahiko performance apart were their kaʻi (entrance dance) and hoʻi (exit dance). Instead of a traditional kaʻi, Kalama Heine composed an original kaʻi, Panaewa.

Their hoʻi was also special. It was a portion of a 9th century Tahitian migration chant, Nuʻumea Lani, gifted to Kalama Heine by Kumu Hula John Kaʻimikaua. “This chant has a thousand lines, but he gave us a section and said, ʻthis is what you use to take your women offstage,’” Heine remembered. Nā Pualei has been using it as their hoʻi for 50 years now.

From the beginning, Nā Pualei and Nā Kamalei were regular collaborators who were making an impact in the hula community. “Their thinking was so progressive that they kind of pushed the envelope,” said Heine. “It kind of forced all the other young, up-and-coming hālau to think outside the box, yet stay within the [required] boundaries and parameters. They were always learning, improving and just sharing.”

Decades passed, and while some haumāna came and went, the core group of women who had been with Nā Pualei from the beginning remained intact through graduations, marriages, careers, parenthood and loss; more than a hālau, they were ʻohana. Pilina built on aloha and a shared passion for hula, enduring through all seasons of life.

In the mid-2000s, Kalama Heine was determined to form an ʻūniki class for 13 of her students – one of whom was her daughter. Like her mother before her, Heine initially hesitated, reluctant to take on the kuleana. “I knew that, eventually, hālau would come to me,” she said.

Some of her hula sisters were also reluctant to ʻūniki, but for a different reason. They did not want to leave the hālau that was also ʻohana. “But my mom allowed everyone to stay until they were ready to leave.”

In 2009, Heine and 12 of her hula sisters completed ʻūniki ceremonies and Nā Pualei continued to evolve. Then in 2012, the hālau that had been exclusively for women for 30 years opened a class for keikikāne – in part because so many of the haumāna had young sons. And as those boys grew up, a kāne class was added as well.

When Kalama Heine passed in 2015, she was in the process of training a second ʻūniki class. Heine assumed leadership of Nā Pualei, and completed their training in 2018 – a class that included her sister, ʻAuliʻi Heine Hirahara, who has since started her own hālau. Heine is now training her youngest sister, Healiʻi Heine, to become a kumu hula as well.

In all, Nā Pualei has graduated 16 kumu hula and birthed eight new hālau. However, some remain at Nā Pualei, content to kākoʻo Heine with running the hālau, teaching its classes, and helping to build a vision for the next 50 years.

Beyond training young people to preserve and perpetuate hula as a living art, Kalama Heine wanted to instill in her haumāna a love for all that is Hawaiian and determination to uphold their kuleana to our people – whatever that might be.

“One of my mom’s goals for Nā Pualei was to train young people to be future leaders and to move our lāhui forward,” Heine reminisced. “She was a mana wahine. Even today people speak highly of her. It’s like she never left; a name that is not forgotten. She touched a lot of people.”

This article is reprinted with permission from 

OHA's Ka Wai Ola newspaper: "Nā Pualei o Likolehua – “ʻO ke Aloha hoʻi e Hoʻomau ʻia ana" by 

, in its April 2026 issue, Vol. 43 No. 4. Read more at 

For the latest news of Hawai‘i, sign up 

Na Pualei

<title>Community Voices: A story of enduring love</title>

Beyond training people to preserve and perpetuate hula through hālau Nā Pualei o Likolehua, founder Leināʻala Kalama Heine wanted to instill in her students a love for all that is Hawaiian and determination to move the lāhui forward. Now under the leadership of her oldest daughter, Kumu Hula Niuliʻi Heine, the hālau is celebrating its 50th anniversary this year at the Merrie Monarch Festival.

Community Voices: A story of enduring love

Lopaka and Tanya Kapanui

Lopaka Kapanui and Tanya Kapanui

Hawai‘i History

Around 1845, Governor Boki is said to have given the Catholic Church in Hawai‘i a plot of land outside Honolulu in an area called Kulaokahua. This parcel of land became a cemetery, open to members of the Catholic Church in Hawai‘i. More land was added through subsequent purchases in 1866 and 1912, creating what is now known as the Roman Catholic Church King Street Cemetery.

However, by the turn of the 20th century, overcrowding at the Catholic Cemetery was already a concern. As early as 1899, the Committee on Cemeteries recognized that the city’s growing population meant an increase in deaths, which required more land for burials.

In 1902, the Board of Health reported a dire situation at the Catholic Cemetery. The rear quarter of the grounds was stated to be unfit for use as the underground water level was just three and a half feet below the surface, and burials had been made at two and a half feet short of the required depth. The groundwater drained into the open ponds behind the cemetery, where the Hawaiian Electric buildings are now, which Hawaiians were still using for fish. The original ‘Ewa half of the cemetery was badly crowded, and officials believed any new graves dug would encounter previously buried coffins. The “new” Waikīkī portion was also mostly filled and had very little space left. In 1908, the Board of Health declared the lower part of the cemetery to be unsanitary due to the high underground water level. Burials were supposed to stop, but they only reportedly slowed down.

On the property was a small house where the sexton, or caretaker, lived. The sexton was responsible for maintaining the cemetery and digging graves. In 1928, agents raided the cemetery and arrested the sexton after finding an alcohol still inside the house. Further investigation found a family tomb that led about 30 feet underground, which housed 20 gallons of aged “oke” (okolehao) and 4 gallons of wine. The sexton entered a plea of guilty to violating the National Prohibition Act, telling the court he made the liquor for his own use.

[{"type":"text","text":"“Ghosts don’t drink,” he told the judge, “But I do.”"}]

In September of the same year, the Board of Health declared that no new burial permits would be issued for the King Street Catholic Cemetery. All future burials were to be directed to the newly established Diamond Head Memorial Park. Although the cemetery was closed, a few burials were added after 1930, including the wives of prominent figures who were already buried on the grounds.

However, not all the remains buried there remain. As Honolulu grew, space became scarce. During the widening of King Street in 1971, 39 burials were disinterred and relocated to other cemeteries on O‘ahu. In 1997, during the construction of the adjacent condominium, a legal notice in the newspaper announced that they had discovered unmarked burial sites containing human skeletal remains on their lands purchased from and located next to the King Street Catholic Cemetery. The State Historic Preservation Division requested that the descendants of families buried in that location contact them regarding the appropriate treatment of the unmarked remains.

Perhaps not every spirit follows where the bones were taken. In a place where names were lost and resting places disturbed, the past lingers, sometimes seen, sometimes heard.

People often park along King Street in front of the cemetery and wait for traffic to slow before jaywalking across to the hospital. One woman said that while waiting, she heard someone call her name. She looked around, didn’t see anybody, and turned back to watch for her chance to cross. But the sound came again, and she stepped back from the curb and turned around. She looked beyond the fence, and as she stepped forward, she realized someone was calling her name from inside the cemetery. But no one was there.

Another popular ghost story comes from Nanette Napoleon. She said she spoke to a woman who was tracing her family’s genealogy. The woman spent hours looking for her ancestor’s grave until, all of a sudden, an older Hawaiian woman with long gray hair and wearing a white mu‘umu‘u appeared. The Hawaiian woman asked the lady who she was looking for, then led her directly to the correct grave marker. But when the lady turned to thank the woman, she had already vanished. This cemetery is small and flat, and there weren’t any nearby places to hide.

My own experience is similar. My wife and I were exploring the cemetery a few years ago. We find it interesting to see familiar names or dates that might be significant to us. A few headstones have surprising details about the person’s death, announcing they died from an illness or in a car accident. After looking at a fallen headstone with the name Kamehameha engraved in an arch across the top, we made our way towards the tall iron cross in the center of the cemetery. A young priest, clean-shaven with short black hair, wearing a long cassock, was there. My wife commented on the heat and how stifling the man’s robes must be.

As we passed him, the man said hello and gave us a slight nod. We greeted the man, and barely a second later, my wife turned back to look at the priest, only to find that he’d somehow disappeared. We looked behind the cross, but he wasn’t hiding there. There are two large banyan trees, each about a hundred feet away from the iron cross, and we looked behind both. Most of the headstones aren’t large enough to hide a fully grown man, but we walked up and down the aisles anyway. The priest was nowhere to be seen.

We never did figure out where he went. He either moved incredibly fast, or we were just very slow to realize we’d met a ghost.

King St Cemetery

<title>Ghosts of the King Street Cemetery</title>

From 1845 until the 1920s, a parcel of land outside of Honolulu granted by Governor Boki served as an active cemetery for the Catholic Church in Hawai‘i. It's still there on King Street, though its quiet surroundings have given way to high-rises, utilities and a hospital. Also still there, some say, are the spirits of the deceased appearing amid the headstones.

Ghosts of the King Street Cemetery

Katie Helland Headshot

Katie Helland

Aloha Spirit

Hawaiian Council has announced its Aloha in Action Benefit Concert to raise funds for those impacted by the 

, which caused widespread flooding and damage across the state.

, alongside internationally recognized artist 

It is set to take place on Thursday, April 23, at the Ko Olina Grand Lawn, which is adjacent to Ulua Lagoon 4. The event starts at 5 p.m. Doors open at 3:30 p.m.

All proceeds from the concert will go to 

, which provides direct assistance and resources to those impacted by the floods.

“During times like this, we come together as a community,” said Kūhiō Lewis, CEO of the Hawaiian Council, in a written statement. “We are seeing firsthand the impact on families, and we are focused on supporting them and helping communities recovery, while showing what it means to truly kākoʻo one another. As a Native Hawaiian organization, it is our kuleana to rise up and take care of Hawaiʻi and its people.”

The recent storm led to evacuation orders for residents of Haleʻiwa and Waialua. It 

This event is a non-alcoholic, family friendly concert with music and cultural performances that will feature food and merchandise vendors.

Here is the tentative line-up of acts, which is subject to change:

[{"type":"text","marks":[{"type":"textStyle"}],"text":"5 p.m. The Mākaha Sons"}]

5:45 p.m. Amy Hānaialiʻi & Osorio ʻOhana

[{"type":"text","marks":[{"type":"textStyle"}],"text":"6:30 p.m. Jason Momoa & Öof Tatatá"}]

[{"type":"text","marks":[{"type":"textStyle"}],"text":"7:15 p.m. Three Plus"}]

[{"type":"text","marks":[{"type":"textStyle"}],"text":"8 p.m. Jack Johnson & Kimié Miner"}]

[{"type":"text","marks":[{"type":"textStyle"}],"text":"8:45 p.m. The Green"}]

[{"type":"text","marks":[{"type":"textStyle"}],"text":"9:30 p.m. Kolohe Kai"}]

Jack Johnson and his wife, Kim, are based on the North Shore. Earlier this month, they announced a 

commitment of $500,000 for flood recovery

, is a Kapolei-based nonprofit that focuses its programs on business incubation, housing, policy, tourism and workforce development to support Native Hawaiians.

It is produced by Hawaiian Council and led by a Native Hawaiian creative team that includes Kipe Ebana, 

, Tiana Nonosina and Kayla Faʻamaligi. Through a partnership with Ko Olina Resort — which includes Aulani, a Disney Resort & Spa; Four Seasons Resort Oʻahu at Ko Olina; Beach Villas at Ko Olina; Ko Olina Golf Club; Marriott's Ko Olina Beach Club; and Ko Olina Marina — Hawaiian Council will have 

use of the land for the lūʻau, the marina that supports the lūʻau, and a parking area for 18 months free of rent

Tickets are $25 for keiki who are 12 years old and younger. General admission is $50. VIP tickets, which include preferred seating and a benefit T-shirt and lanyard are $100. 

The Mākaha Sons and Henry Kapono

<title>Benefit concert with Jason Momoa, Jack Johnson, Kolohe Kai, The Green and more</title>

Hawaiian Council has teamed up with nine acts, including The Mākaha Sons and others, to host a benefit for those impacted by the recent Kona Low Storms. The list of performers includes artists who are regular headliners at various events.

Benefit concert with Jason Momoa, Jack Johnson, Kolohe Kai, The Green and more

Government & Politics

On a Monday morning earlier this month, Mayor Rick Blangiardi sent his proposed budget for the coming fiscal year to the Honolulu City Council. The total came in $133 million less than the year before. The operating side grew by less than one percent. There were no ribbon cuttings. The 

 lasted about 40 minutes and drew a few paragraphs in the morning papers.

Had the number gone up — a record spend on city services, a bold new chapter — there would have been more headlines. The budget that doesn’t grow is not a story.

What matters is whether government grows faster or slower than the income of the people paying for it. The University of Hawaiʻi’s economic research arm, UHERO, 

 personal income in Honolulu will grow about 3.7% this year. That 3.7% is the speed limit. A government budgeting above it is spending money its people haven’t earned yet.

Blangiardi’s operating increase of less than 1% means city government is shrinking against the economy. That’s harder than it sounds. Union contracts alone required wage raises above 1%. He covered that and still cut the total.

The pattern elsewhere is mixed — and mostly worse. On Kaua‘i, Mayor Derek Kawakami’s current budget 

, more than twice the county’s projected income growth.

Maui’s Richard Bissen is a different story. UHERO projects Maui’s income to grow about 4% this year. Bissen’s proposed budget for next fiscal year 

. That’s nearly flat in real terms — a return to earth after the fire-driven spending surge.

The outlier nobody talks about is Hawai‘i County Mayor Kimo Alameda. His proposed operating budget 

 against projected income growth of 3.4%. Nearly as disciplined as Honolulu, with almost no press. Alameda governs quietly, and Hawai‘i County draws less notice than Maui or Honolulu.

Blangiardi didn’t cut services. He cut the budget lines for vacant jobs. With roughly one in five city jobs vacant, that pay was already sitting idle. The mayor pulled about $50 million in vacancy funding back across departments. The police chief called it tight but workable. AI tools are rolling out across city offices — not to cut jobs, but to get more done.

Blangiardi is not always easy. Councilmembers, reporters, and slow-moving department heads have all felt the friction. But for five years, he’s been the strongest check on government growth in Hawai‘i. And in his 2026 State of the City address, he 

 not to raise property taxes while in office.

Government that lives within its means doesn’t produce ribbon cuttings. It fills the potholes, keeps the lights on. In the oldest sense, it’s a good neighbor. It doesn’t always make the news.

0000 0000 Mayor Blagiardi Square Wide 16x9

<title>The budget that doesn't grow</title>

Honolulu Mayor Rick Blangiardi did something remarkable early this month in releasing a city budget that came in $133 million under the previous year's budget. ASD columnist Sterling Higa looks at all four county budgets to see which counties are living within the means of their citizens.

The budget that doesn't grow

Will Caron

Will Caron is communications director at Hawaiʻi Appleseed Center for Law & Economic Justice

<title>Will Caron</title>

Special for ASD, the Hawaiʻi Appleseed Center for Law & Economic Justice looks at the recent Legislative sessionʻs hits and misses.

Will Caron

Latest from Will Caron

Community Voices: Economic prosperity rises from the bottom up

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