TGIFr!day

Week of Friday, December 28, 2018 | Vol. 6, No. 52

Check da Scene

Grinds & Da Kines For Your Weekend

ALAN AKANA OPENS HIS HOME, GALLERY

Free art show Sunday

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2 | TGIFR!DAY | December 28, 2018

MINISTRY AND WATERCOLOR Koloa Union Church pastor to hold open house Sunday at art gallery

K

OLOA — For years painting watercolors of Hawaii’s flowers kept Alan Akana connected to his home, even though he was traveling all over the United States working in ministry.

Born into a Native Hawaiian family on Hawaii Island, Akana lived and worked in churches in Montana, Utah, Texas and California before accepting his role as pastor of Koloa Union Church.

“Everywhere I went, I kept doing watercolors of Hawaii’s flowers,” he said. “I went home about once a year and took photographs of all the flowers and then I’d paint them while I was away.”

Sunday, he’s celebrating 25 years of watercolor and five years of ministry back in his home state of Hawaii with an open house at the Alan Akana Gallery — which happens to also be his living room and the parsonage for Koloa Union Church.

Doug Duvachelle’s, who will be performing during Sunday’s presentation, grandmother Alice Tanaka Duvachelle developed this deep red plumeria several decades ago, said Alan Akana.

“I asked the church and they gave me the go ahead to have the gallery in my living room and dining room five days a week,” Akana said. “That was two years ago.”

And the money doesn’t go back into Akana’s pocket. “It’s a fundraiser to care for the historic parsonage and the grounds,” he said.

After spending years on the Mainland, where he originally

Alan Akana talks about the Koke‘e Yellow Loosestrife, the only plant in his endemic plants section that does not have a Hawaiian name.

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Alan Akana works on his Maiapilo, or Hawaiian Caper, project at the Koloa Union Church parsonage house.

moved to find work, Akana said he turned his sights back to Hawaii in order to be closer to home.

Six months before he took the job at Koloa Union Church is when his art was first featured in a gallery in San Francisco.

“It caught me off guard because it was just a hobby,” Akana said. “But more than 100 people showed up and almost everyone bought something.”

That put a pep in his step and planted the seeds for the parsonage art gallery that would come later, but really Akana’s goal at that time was the same as it is today: make a life out of ministry

and watercolor.

“I watercolor almost every day for an hour or so before I go to the church and start work there,” he said. “I had some sense of this when I was looking and wanted to move back and at Koloa Union Church they were incredibly supportive. They’re very accepting of me as a minister and as an artist.”

The home gallery came about when Akana’s son was at home between sessions at school in 2016. Akana had the idea and the father-son project was born.

The Koloa Union Church’s Smith Memorial Parsonage sits on part of the historic Dr. and Mrs. Smith

orchard and welcomes visitors to the church and to view the gallery with beautiful landscaping.

Inside, Akana said people are usually a bit stunned to find out the gallery is also his home.

“It’s a homey sort of gallery, but people are always surprised,” he said. “People are receptive though.”

Sunday, December 30, Akana is hosting a free open house at the gallery from 2 to 5 p.m. in Koloa.

Refreshments and door prizes will be available, paintings will be for sale and Akana will be around to talk story.

More info: 353-1347

TGIFR!DAY | December 28, 2018 | 3

JUDY COLLINS CONCERT NEXT WEEK The Grammy Award-winning singer/songwriter will be at the Kauai Community College Performing Arts Center Jan. 3

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TGIFR!DAY

J

udy Collins is coming to Kauai.

The Grammy Award-winning singer/songwriter will kick off her Hawaii tour next Thursday, Jan. 3, at 7 p.m. at the Kauai Community College Performing Arts Center. Tickets start at $50, and can be purchased in advance from bluesbearhawaii. com. Doors open at 6 p.m.

“I always love coming to Kauai,” Collins said in an interview last week. She said she has had the opportunity to perform on the island several times throughout her career and always enjoys it.

This time around, Collins is fresh off a November tour with Stephen Stills, of legendary supergroup Crosby, Stills & Nash. The two spent last month touring in support of their latest collaboration, “Everybody Knows.”

The album, released last September, was financed through a crowdfunding campaign and peaked at number 45 on the Billboard 200 chart.

Next Thursday is a chance to see Collins on a stage all by herself, and that may be when she’s at her best.

Collins began her music career as a child prodigy on the piano, performing for the first time at age 13, and started playing clubs in New York’s Greenwich Village as a young woman. In 1961, she released her debut album, “A Maid of Constant Sorrow,” which featured interpretative works of social poets of the time such as Bob Dylan, Phil Ochs, and Tom Paxton.

She gained international prominence in 1967 with the lead single from her album Wildflowers, entitled “Both Sides, Now,” written by Joni Mitchell. The single hit the Top 10 on the Billboard Pop Singles chart and won Collins her first Grammy Award for Best Folk Performance.

Collins had success throughout the 1970s with a number of popular singles and the release of her best-selling album, Judith, in 1975, featuring “Send in the Clowns,” which was written

by Stephen Sondheim and went on to spend 27 weeks on the chart.

Collins has also authored several books, including the powerful and inspiring,

Sanity & Grace. For her most recent title, the memoir Sweet Judy Blue Eyes: My Life in Music, she recalls her turbulent childhood, rise to fame, a romance with Stephen Stills and her battles with depression and alcoholism.

She remains a social activist, representing UNICEF and numerous other causes.

She is also the co-director with, Jill Godmillow, of an academy Award-nominated film about Antonia Brico, the first women to conduct major symphonies around the world-and Judy’s classical piano teacher when she was young.

Judy Collins, now 78, is as creatively prolific as ever, writing, touring worldwide, and nurturing fresh talent.

After performing on Kauai, she hops to Maui the next day, followed by the Big Island on Jan. 5. The she heads off on a tour with stops in Europe, California and Canada.

“I don’t know what city I’m going to be playing in until my manager tells me when I wake up in the morning,” she said.

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4 | TGIFR!DAY | December 28, 2018

Deli and Bread Connection bakes daily, slings soups and salads too

FRESH BREAD, S HEALTHY SANDWICHES

JESSICA ELSE TGIFR!DAY

Photos by Jessica Else/The Garden Island

LEFT: The BLT deli exclusive sandwich at Deli and Bread Connection. RIGHT: Tin signs advertise menu options next to the grab-and-go chips at Deli and Bread Connection.

mells of savory soups and fresh bread dominate the corner of the Kukui Grove shopping mall next to Macy’s, where more often than not you’ll find loaves just out of the oven and a line out the door.

It’s the Deli and Bread Connection, a breezy cafe with a raised corner deli, coolers that house bottled drinks, and a rack of chip bags next to tin signs boasting things like a Mini-Sub Combo for $7.75 or a Classic Club for $8.25.

Checkerboard paper wraps generous sandwiches, matching the checkered deli countertop, adding a vintage feel that brings to mind visions of one-horse towns and local dives.

A dozen or so tables dot the main dining room, with a couple of angular benchlike tables near the door, and intermingled with shoppers, families can usually be found diving into a sub sandwich or Portuguese bean soup after school on weekdays.

Serving Kauai since 1998, Deli and Bread Connection has been honored with “Best of Kauai” and “People’s Choice” awards for a decade,

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the menu is built around fresh-made bread — with bread bowls starting at center stage.

Sourdough bread bowls are combined with freshly-made clam chowder for a local favorite but can be filled with the cafe’s soup of the day. Three varieties are served every day and the menu boasts about 10 types of soup in total, including Garden Vegetable, Corn Chowder and Boston Clam Chowder, Cream of Broccoli and Home Style Chicken Noodle.

The deli itself slings a long list of sandwiches and subs.

Deli exclusives include the BLT on toasted sourdough; the TOPSS Sandwich with turkey, olives, peppers, sprouts, and Swiss cheese on sourdough; the Islander Sub with pastrami, turkey, Swiss and pepper jack cheese; the Rollyn Rubin with a secret sauce and thinly sliced corn beef on rye; and the Megladon with roast beef, onion, mushrooms, pepperoncini, peppers and provolone on a French roll.

Other deli sandwiches include staples like turkey, salami or roast beef, chicken salad sandwiches and a liver sausage sandwich called the Braunschweiger. French dips,

Poor Boys, and tuna salad round out the menu.

Salads and vegetarian options are also available.

The priciest menu item is the Poor Boy, which is touted as a “colossal sandwich” on the menu and advertised as enough for two. It’s made with any combination of three meats, two cheeses and any toppings. It comes with a $13.50 price tag.

Daylight Donuts are also for sale at the Deli and Bread Connection, as well as freshly made deserts — that menu changes based on availability and what’s being made.

It’s a place to bring the family after the next soccer game, a lunch spot for when you’re out shopping and a quick, healthy option for weekday grab-and-go lunches.

Call ahead if you’re in a hurry.

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TGIFR!DAY | December 28, 2018 | 5

REVIEW: A NEW SPIN TO OLD CARPENTERS RECORDS ANDREW DALTON ASSOCIATED PRESS

K

aren Carpenter has now been gone longer than she was alive.

Yet her best work may have just been released, at least according to her brother, arranger and performing partner, Richard, who has made it his mission to keep her singing voice resonant and relevant since her death 35 years ago.

In the new collection, “Carpenters with the Royal Philharmonic Orchestra,” Richard Carpenter gave new string arrangements to many of the duo’s classic recordings from the late 1960s through the early 1980s, including “Close to You” and “Superstar,” and pushed his sister’s unmistakable voice even more to the fore than it already was.

“I think it’s the best album we’ve ever made,” Carpenter, 72, told The Associated Press in an interview at his Southern California home this week.

Longtime fans are en-

Associated Press file photo

Richard and Karen Carpenters of The Carpenters during the 13th annual 1970 Grammy Awards in Los Angeles.

thused by the collection, which includes the holiday touch of “Merry Christmas Darling,” the December staple that Carpenter says was “one of our best records” regardless of season.

The album debuted at No. 52 on the Billboard charts in the U.S. after its Dec. 7 release by A&M/UMe and shot straight to the Top 10 in the United Kingdom and Japan, both Carpenters’ strongholds from the start. A vinyl release

will follow in February.

Carpenter wasn’t immediately gung-ho when Universal Music asked if he wanted to create an album for the “Royal Philharmonic” series, whose previous editions have included Elvis Presley and Aretha Franklin.

But as he considered it, he realized he could make small changes to the duo’s already largely orchestral recordings that would make a big difference.

“It gave me a chance to change a couple of arrangements a certain way that I pretty much wanted to do for many a year,” he said.

“They’re just either augmentations to already existing parts — just more players playing the parts — or different little things that I heard to an existing arrangement.”

Carpenter conducted the 80-piece London-based symphony himself at Abbey Road Studios, and he oversaw the mixing, giving him another chance to play his natural background role in support of the unforgettable alto voice of his sister, who died of complications from anorexia in 1983 at age 32.

“I feel Karen and I were born with talents to complement the other,” Carpenter said.

In some cases — like an angelic new piccolo trumpet solo on “Goodbye To Love” — his changes leap out to the listener. But most of them might even go unnoticed, and that was a deliberate choice.

“The last thing I wanted to do was overdo it,” Carpenter said.

He also got to fix old quirks, the result of having to rush out albums at the height of the group’s popularity.

“Some things were done in a bigger hurry than I

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would have preferred. There are certain little oddball things that made their way through. It’s small, but if you have the ear to hear it, you hear it. Like the air-conditioning rumble in the opening lines of ‘Yesterday Once More,’” Carpenter said. “All that’s gone now.”

He also took away some of the noise and reverb around his sister’s voice, and made her louder and clearer.

The overall result is much more than a mere collection of singles, it’s a legitimate studio album, with newly composed overture, interludes and introductions, a carefully chosen sequence and songs that flow together.

6 | TGIFR!DAY | December 28, 2018

REVIEW: ‘STAN & OLLIE’ IS A JOY

Oliver Hardy was terrifying, inspiring for John C. Reilly ANDREW DALTON ASSOCIATED PRESS

LINDSEY BAHR ASSOCIATED PRESS

P

T

here are lot of movies in theaters right now trying to grab your attention, and dollars, from big superhero spectacles and musical extravaganzas to awards darlings and wannabes. It’s easy to get overwhelmed with the options in the multiplex (and, frankly, at home) and when something like, say, a late-career Laurel and Hardy biopic comes along, you’d be forgiven for thinking it easy to dismiss, or at least put off for a little while.

But I’m here to tell you not to sleep on “Stan & Ollie .” It is simply terrific — an understated but smartly told crowd-pleaser about the legendary comedy duo in their last act, with wonderful production value, a sharp and surprisingly poignant script and brilliant performances from John C. Reilly, as Oliver Hardy, and Steve Coogan, as Stan Laurel.

Directed by Jon S. Baird (“Filth”) off a script from Jeff Pope (“Philomena”), “Stan & Ollie” focuses in on the two during a last-gasp musical hall tour of the United Kingdom in 1953, 16 years after their prime, when most of the world had assumed the two had long-since retired on the riches of their fame.

There is a brief introduction of them at their peak working with Hal Roach (played by Danny Huston). They’re laughing about ex-wives and money and declaring that they’ll never get married again, or, as Laurel says, he’s just going to find a woman he doesn’t like and buy her a house. But there’s a sign of trouble to come.

Laurel’s contract with Roach is up, and he’s taking a meeting at another studio, expecting (and hoping) that Hardy will come

Sony Pictures Classics via AP

John C. Reilly as Oliver Hardy in a scene from “Stan & Ollie.”

along.

The film comes back to this pivotal break throughout, as we learn more and more about that rift and their lingering issues with one another and the seams of this showbiz-manufactured marriage start to show even as this performance tour gets more and more trying as it becomes evident that this is their last act.

It’s a rough go on the road at first, as they try to keep their spirits up even when performing to a half-full, second-rate theater (a lousy promoter has not done a good job educating the public that they’re not retired).

Eventually they have to lower themselves to do a series of cheesy promos educating the public that yes, it is them and not some impersonators, which ends up working.

Abbott and Costello might have been the big screen comedy duo of the moment, but it turns out

there was still an audience for nostalgia.

And there is more at stake than just their ego — Laurel has been hard at work on a Robin Hood movie that he hopes could be their big comeback (a producer is supposed to come see their London show), while Hardy is trying to mask his declining health. “Stan & Ollie” packs a surprising emotional punch as well, without ever delving into the sad clown sentimentality that you might expect from a standard performer biopic.

Whatever is going on behind the scenes, in their friendship, their marriages, with their finances, these two seem to relish in delighting an audience, whether it’s just one person (like, say, a hotel clerk) or a room of thousands.

They’ll even get their wives (Shirley Henderson plays Lucille Hardy and Nina Arianda is Ida Kitaeva Laurel) in on it to drum up a little publicity,

making them participate in “the door bit” fresh off an international flight. And Coogan and Reilly are at the top of their game, truly disappearing into the icons they’re playing.

Baird and his performers have fun integrating these well-worn bits (even the piano box!) into their daily life and Laurel and Hardy fans will have fun spotting them throughout. And don’t worry if you’re only passingly familiar with Laurel and Hardy — their comedy is timeless and it’s not an uphill battle to understand why they were the best, or to see their impact on the comedy of generations to come.

“Stan & Ollie,” a Sony Pictures Classics release, is rated PG by the Motion Picture association of America for “some language, and for smoking.” Running time: 97 minutes. Three and a half stars out of four.

laying Oliver Hardy, the large comic with the even larger persona, was a burden that became a mission for John C. Reilly.

The actor had early misgivings about becoming the man whose legendary partnership with Stan Laurel is explored in “Stan & Ollie,” which will be released Friday in the United States by Sony Pictures Classics.

“It was a pretty terrifying prospect,” Reilly told The Associated Press in an interview earlier this month after learning the role had earned him a Golden Globe nomination. “Those are some very big shoes to fill, no pun intended. I didn’t know that it was going to work out so well. It was really an act of faith.”

At the beginning of the process, Reilly developed a deep affection for Hardy through books, through Hardy’s letters to his wife and through the more than 100 screen appearances he made with Laurel, played by Steve Coogan.

It was on finding out how neglected Hardy and his partner were late in their lives and careers — the period explored in the film, which documents a trying tour through the United Kingdom in the early 1950s when the men were in their early 60s — that Reilly felt not only a compulsion but also a duty to do it.

“I just didn’t feel I was worthy at first,” Reilly said. “But when you learn about Laurel and Hardy, and how the world kind of forgot them at the end of their life, I realized I had to do this for Oliver. I would just keep saying, ‘do it for Oliver.’”

CHECK DA SCENE

TGIFR!DAY | December 28, 2018 | 7

DENNIS FUJIMOTO TGIFR!DAY

Wyatt Taubman, Elizabeth Freeman, Jackie Brady Bill Marciel

Shaday Thomas, Denae Sacramed

Luke Eitel, Jenie Eitel, Santa Claus, Jay Eitel - Los Angeles

Cherry Sinema, John Sinema - Washington

Shylee Shimabukuro, Jacob Lester

Alicia Hayakawa, Kiara Wetherington, Haley Gokan

Savanna, Nicholas, Casey Jeli - Oahu

Liam, Jasmine Sadamitsu

HANA HOU! T

here is one more opportunity to take in the free 22nd Annual Festival of Lights before it closes its 2018 run at the Historic County Building.

The Festival of Lights, coordinated by Elizabeth Freeman, is hosting one last night — Dec. 29 from 6 to 8 p.m. so people can savor the light and folk art for one last time before it returns in December, 2019.

Madame Pele, created by Riz Ogata, anchors the featured tree — the Fire and Rain tree — that was inspired by the natural disasters that took place during the spring.

“My vision was to paint water drops with iridescent ink and have the rain names — do you realize there are more than 50 names for rain? — superimposed over the drops, and hang the drops on the tree,” Freeman said.

The featured tree joins the collection of Christmas folk art created by the late Auntie Josie Chansky.

Brandon, Huntlee, Tehane Rita

8 | TGIFR!DAY | December 28, 2018