Hawaii
Hawaii County Mayor's Race Is Getting Lots Of Cash This Year
Hawaii County Mayor Mitch Roth has raised and spent tens of thousands of dollars more than his opponent, Kimo Alameda, in his bid to win a second term.
But so far that’s been noticeably less than at the same point four years ago, when Roth easily beat Ikaika Marzo, a business owner.
Marzo in 2020 had far fewer campaign resources than Alameda in 2024, who has attracted a broad range of donations in the contest and is considered a more serious rival.
Both candidates have also held several fundraisers in the waning days of the general election, illustrating their need for cash to garner votes on Hawaii’s largest island.
Roth asked for money at Duc’s Bistro in Honolulu and the Hilo Hawaiian Hotel in September, while Alameda held four fundraisers in September — one each at the Kaimana Hotel in Honolulu and at the Kona Elks Club, and two at the Hilo Lagoon Center.
Roth reported more than $330,000 in contributions, including $50,000 from Sept. 17 through Oct. 21, which covers the latest filing period. Alameda received $284,000 in contributions, with $28,000 coming in during the recent reporting period.
Meanwhile, Roth outspent Alameda by $100,000 — $340,000 to $241,000. Roth is depending heavily on TV advertising. Most of the $109,000 he paid during the recent filing period went to Hamburger Group Creative of Washington, D.C.
For his part, Alameda expended $44,000 during the same period, nearly half of it going to Oahu Publications (it owns newspapers in Hilo and Kailua-Kona) for print ads.
Both candidates have received a number of donations from local sources willing to shell out a minimum $1,000.
For Roth, they include executives with Hilo Auto Sales, Commercial Plumbing and Kona Salt Farm. Groups giving to the mayor include Hawaii Operating Engineers Industry Stabilization, Hilo Opportunity Zone Fund, General Contractors Association of Hawaii and Big Island Federal Credit Union.
Alameda has received similarly sized donations from executives with Big Island Grown, JL Hauling and Dickinson General Contracting. Local Union 1186 IBEW PAC Fund also gave $1,000 in the recent reporting period.
The challenger, a clinic administrator and psychologist, also received $10,000 from executives with businesses in Washington state such as Cedar Grove Electric and Emerald Services.
Senate Races Of Interest
The Roth-Alameda race, which is nonpartisan, is perhaps the most high profile contested election statewide, but there are other competitive, partisan races that have attracted media and donor attention.
They include two races for the state Senate and several in the state House of Representatives.
Republican Sen. Brenton Awa is in his first term representing District 23 (Kaneohe, Kahaluu through Laie, Kahuku to Mokuleia, Schofield Barracks and Kunia Camp) and is one of only two GOP members in the 25-member Senate.
Awa, a former television newscaster, has spoken publicly about his disdain for campaign contributions. He believes donations unduly influence legislators.
To that end, Awa has raised a mere $2,000 and spent just half of it this election cycle. He reported no contributions in his most recent filing and spent nothing on his campaign.
That stands in contrast to his Democratic opponent. And unlike Awa, Ben Shafer faced a primary opponent, former state Sen. Clayton Hee.
Shafer’s latest filing shows that he has a negative cash balance of $1,300, having spent more than the $67,000 he received in contributions.
His most recent contributors include state Sen. Les Ihara, former legislator Pono Chong, Sheetmetal Workers Local Union 293 and AFSCME Local 646.
The District 23 seat has switched parties several times. In an indication of how fluid relations and loyalties can be, a former occupant of the seat, Gil Riviere, sponsored two fundraisers in September for Shafer at Duc’s Bistro. Riviere, a former Republican, narrowly lost his seat to Awa in 2022 as a Democrat.
Another Senate race pits Democrat Cedric Gates against Republican Samantha DeCorte. The District 22 seat (Koolina, Nanakuli, Maili, Waianae, Makaha and Makua) is temporarily occupied by Cross Makani Crabbe, who was appointed to the position this summer to replace Democrat Maile Shimabukuro, who stepped down in May and endorsed Gates.
Gates, a state representative, pulled in $139,000 in contributions and spent $148,000. But he still has $12,000 in cash on hand, thanks in part to funds transferred from his previous House campaigns.
Recent contributors to Gates include Hawaii Gov. Josh Green and state Sen. Jarrett Keohokalole. Gates spent $17,000 during the latest reporting period, including for advertisements in the publication Westside Stories and to pay for postage on mailers.
DeCorte has raised and spent far more modestly — $48,000 and $36,000, respectively. Contributors include businessman Christopher Flaherty. DeCorte’s latest expenditures include paying for graphic design, printing and text messaging.
And In The House
The District 22 race is one of several in the Ewa and Westside regions of Oahu that have seen Republicans make gains in recent elections. They include three House races where GOP incumbents hope to fend off Democratic challengers. Democrats currently hold 45 of the 51 House seats.
In one of those races, Democrat Corey Rosenlee, a former head of the Hawiai State Teachers Association, is challenging Rep. Elijah Pierick for the District 39 seat (Royal Kunia, Village Park, Honouliuli, Hoopili and portions of Waipahu).
Rosenlee has raised $30,000 in donations but has spent $47,000, an amount that includes $20,000 the candidate gave to himself. His contributors include the HGEA Political Contribution Account, the University of Hawaii Professional Assembly, the United Public Workers PAC and state Reps. Della Au Belatti and Sean Quinlan.
The candidate spent $22,000, according to his most recent filing, with most of the money going to pay for mailing campaign postcards.


Pierick reported $40,000 in contributions in the current election cycle but has spent only $17,000. Most of his expenses went to Meta, the company that runs Facebook, Instagram, Threads and WhatsApp.
One of the contributors to Pierick, James Adamson, is listed on Pierick’s filing as having an unknown occupation because, as the representative wrote in his report, “I was sign waving and he gave me a check.”
House and Senate districts are much smaller political divisions than counties, which is why legislative campaigns spend so much money on mailers and postage.
Anthony Makana Paris, a Democrat running against GOP incumbent Diamond Garcia in District 42 (portions of Varona Village, Ewa, and Kapolei, and Fernandez Village), paid Cardinal Services of Honolulu nearly $5,000 for printing and mailing charges in October. Roughly the same amount went to Service Printers of Honolulu for similar services.
Paris has spent $38,440 this election, using up nearly all of the $39,275 he raised. Contributors include Masons Local 630 PAC.
Garcia has raised and spent much less. Contributors include Pono Petroleum of Kapolei, while expenditures include $590 to American Campaign Finance of Honolulu for a database subscription. Garcias also paid Villages of Kapolei magazine $1,397 for an advertisement.
Meanwhile, GOP incumbent David Alcos is up against Democrat John Clark III in the District 41 House seat (portion of Ewa Beach, Ocean Pointe and Barbers Point). Neither had raised much money, nor spent much.
Nevertheless, Alcos paid $1,535 for food and beverage related to his campaign at the Costco Wholesale Corporation Golf Tournament Event, and another $2,940 for events and activities at the Coral Creek Golf Course in Ewa Beach. And Clark paid $1,257 to Reskyu of Honolulu for postcards and $2,717 to Cardinal Mailing Services of Honolulu for postage fees to mail the postcards.

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Hawaii
Kanakaʻole, Zane ʻohana transform Hawaiian cultural practices into captivating visual arts | Maui Now
This powerful new exhibition will feature the work of Nālani Kanakaʻole, Sig Zane, and Kūhaʻoʻīmaikalani Zane—a Hilo-based family of artists whose creative practices are deeply rooted in hula ʻaihaʻa.
Hula ʻaihaʻa is the low-postured, vigorous, bombastic style of hula that Kanakaʻole was known for as kumu hula of Hālau o Kekuhi. The hula springs from the eruptive volcano personas of Pele and her sister Hiʻiaka, characteristic of Hawaiʻi Island’s creative forces.
The Bishop Museum, the State of Hawaiʻi Museum of Natural and Cultural History, on Oʻahu is presenting “Ea Mai ʻEiwa: Patterns of Practice” in the J. M. Long Gallery beginning on Saturday, April 18, 2026.
The exhibition title references “Kūhaʻimoana,” a chant describing the migration of shark gods from Kahiki (ancestral homeland) to Hawaiʻi. “Ea Mai ʻEiwa” reflects the strength, resilience, and environmental knowledge embodied in these ancestral stories.
Bringing together new and existing works alongside botanical specimens and cultural treasures from Bishop Museum’s collections, the exhibition weaves themes of migration, community resilience, and environmental stewardship—offering insight and inspiration for today.
“This exhibition demonstrates that the gap between historic collections and contemporary art is actually a lot smaller than people think,” said Sarah Kuaiwa, Ph.D., Bishop Museum curator for Hawaiʻi and Pacific Cultural Resources. “Audiences will see how the artists use the same materials as pieces in Bishop Museum collections but in different forms. The resonance between the artist’s work with mea kupuna (ancestors) is what makes ‘Ea Mai ʻEiwa’ a uniquely Bishop Museum exhibition.”
Kuaiwa curated the group exhibitions along with co-curator, kumu hula Kauʻi Kanakaʻole, and Bishop Museum exhibit designer, DeAnne Kennedy.
The artists’ work across visual and performing arts is continually charged and sustained by hula. From Nālani Kanakaʻole’s art direction and choreography to Sig Zane’s photography and textile design, and Kūhaʻoʻīmaikalani Zane’s graphic design and immersive installations, each artist channels ʻike (knowledge, wisdom) carried through generations.
“Through repetition, deep study, and consistent practice, mastery is achieved. As practitioners of hula, the artists have continued to deepen their understanding of the natural and spiritual world, which has in turn inspired their art practices,” Kuaiwa said. “They aim to produce art in various visual media not only to educate, but to also be aesthetically celebrated and enjoyed.”
“Patterns of Practice” was suggested by Sig Zane as a way of representing how the artists hone their skills.
“‘Kūhaʻimoana,’ for me, has many layers to it,” Kūhaʻoʻīmaikalani Zane said. “On a first take, it’s a migratory chant that compares migrations to waves of ocean-navigating sharks. That metaphor sets out the tone of connectivity between our natural environment and the beings that inhabit it.”
“‘Kūhaʻimoana’ is an example illustrating metaphorical depth within Hawaiian poetry,” said Sig Zane. “The importance of navigation surfaces in day-to-day cultural practices. This archaic chant reveals nuanced content, giving us a peek into hierarchy, dualities, and familial belief systems.”
Kanakaʻole passed away in January this year, so Kauʻi Kanakaʻole hopes that “Ea Mai ʻEiwa: Patterns of Practice” reflects Kanakaʻole’s philosophy of practice and piques curiosity within people about others’ stories, history, and culture.
“She intentionally taught hula with depth of language, craft, and art form to encompass a full-on lifestyle commitment,” Kanakaʻole said. “This was her everyday; the way she learned, grew, and inspired.” “I would love for guests to leave (the exhibition) with a mixture of awe, appreciation, and curiosity.”
Highlights of the “Ea Mai ʻEiwa: Patterns of Practice” exhibition include:
- Nālani Kanakaʻole’s kite installation, “Kūhaʻimoana,” her last large-scale installation before her passing
- Botanical specimens from various locations across Hawaiʻi Island, chosen to represent their hula ʻahu (altar) and sources of inspiration the artists frequently draw from
- Uniquely colored kūpeʻe (sea snails) shells made into adornments, as well as adornments made to look like kūpeʻe shells
- Kapa (barkcloth) made from the 19th century with dynamic designs
- ʻAwa (kava, Piper methysticum) cups and kānoa (kava bowl) associated with the aliʻi
- New and archival sketches and rubylith artworks by Sig Zane from 1990 to present
- A collection of family photos from the Kanakaʻole ʻOhana
- Memorabilia and ephemera from the theatrical performance, “Holo Mai Pele” (1995-2000)
“Ea Mai ʻEiwa: Patterns of Practice” will be presented in both ʻŌlelo Hawaiʻi and English, and will be on view until Sept. 20, 2026.
For more information, visit bishopmuseum.org.
Hawaii
Large section of Aloha Stadium demolished as project proceeds – West Hawaii Today
The demolition of Aloha Stadium on Oahu took a big step forward Thursday with the first section of seating pulled down from the steel structure.
Half of the elevated deck-level seating on the stadium’s makai side was severed and toppled backward as part of demolition work that began in February.
The other half of the upper makai-side seating is slated to come down Tuesday, followed by similar sections on the mauka side and both end zones, though the concrete foundations for lower-level end-zone seating are being preserved for a new, smaller stadium to rise on the same site.
A private partnership, Aloha Halawa District Partners, led by local developer Stanford Carr, is replacing the 50,000-seat Aloha Stadium, which opened in 1975 and was shuttered in 2020, with a new stadium featuring up to 31,000 seats.
AHDP is using $350 million of state funding toward the cost of the new stadium, which could be $475 million or more, and will operate and maintain the facility on state land for 30 years with a land lease.
The development team also is to redevelop much of the 98-acre stadium property dominated by parking lots with a new mixed-use community that includes at least 4,100 residences, two hotels, an office tower, retail, entertainment attractions and open spaces expected to be delivered in phases over 25 years and costing close to or more than $5 billion or $6 billion.
Earlier parts of stadium demolition work led by Hawaiian Dredging Construction Co. included removing four covered multistory spiral walkways leading to the upper level from the ground, and concourse bridges.
Demolishing the stadium is projected to be done by August, according to Carr.
Building the new facility is expected to be finished in 2029.
Hawaii
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