Year: 2024
63 for FREE – 02/15/24
This week we bring you 63 for free — that is, 63 things to do or go see or watch that are totally, mostly, somewhat free or at least free-ish.
Also on the cover You know what else is free? Voting in Hippo’s Best of 2024! Vote! Vote now! Vote at Hippopress.com. Tell your friends to vote! Tell your friends to tell their other friends to vote! It’s free, it’s fun, it will make you hungry for ice cream (maybe, I mean, it asks about ice cream and for some of us, just the words “ice cream” have us craving some Green Monster or Death by Chocolate). In summation, vote! See page 21 for details.
And watch the kids put a new spin on the familiar Marvel characters of Loki and Thor in the play Hammered this weekend from the Peacock Players (see page 14).
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Still standing (up)
Kathy Griffin’s ‘My Life on the PTSD List’ hits Portsmouth
Every comic has their story about a joke that didn’t land, and the heckler or projectile that resulted. For Kathy Griffin, an ill-considered attempt to riff on Donald Trump’s “blood coming out of her whatever” comment about debate moderator Megyn Kelly was more consequential. She lost jobs, lost friends and, worse, unleashed a federal investigation — all because of a photo of her holding a ketchup-soaked mask.
It turned out that was just one of many setbacks for Griffin. Along with repeatedly being detained by Interpol during a world tour documented in the film Hell of a Story, she lost her sister to cancer, her mother and longtime foil died at the start of the Covid pandemic, and Griffin herself battled both a pill addiction and lung cancer.
Beyond all that turmoil, she found a way to laugh, even at being the target of a weaponized government.
“I make fun of all of it,” Griffin said by phone from her home in Malibu. “After this long and storied career, to think that I was under investigation by the DOJ and then diagnosed with PTSD, like I’m a combat veteran or something? You have to laugh at it. There’s too much comedy there.”
For example, her cancer, which resulted in the removal of half a lung. “I’m cancer-free, and I’m a proud member of the one-and-a-half lungs community, which needs a face for the brand,” Griffin said. “I’m doing it for free, gratis and happily, and I don’t appreciate you flaunting your two lungs in my face.”
There is, however, one topic she’s trying to steer clear of. “I will say — shocker — as of this moment, I don’t mention Trump at this new show. It’s not like I’m afraid of him or anything because he can’t really do anything worse than he already has.” She polls the audience at most shows to gauge whether they’re interested in the political or personal and goes from there.
On Feb. 2, she opened in Des Moines, Iowa, to a decent-sized crowd, but not every market is as welcoming. With conservative celebrities like Laura Loomer working to re-ignite the outrage that derailed Griffin’s career in 2017, ticket sales are lagging for shows in red states like Texas, Kentucky and Indiana. However, less than 100 or so seats remain for her “My Life on the PTSD List” tour stop in New Hampshire.
Many likened the backlash she received to The Dixie Chicks in the aughts — even that band’s singer Natalie Maines reached out to Griffin to offer support. “That was so cool,” she said. “We were going to get together, then something happened, and we couldn’t. But I want to find her number again and say, remember me? Let’s do it.”
Still, the band now called The Chicks was able to go on tour and make an album with Rick Rubin. Griffin lost much more, for a longer time. Comparisons to Lenny Bruce’s obscenity battles in the 1960s also miss the point, she continued. “He had cops arrest him, not the feds. I even called Kelly Carlin, George’s daughter, and she said the same thing … ‘My dad never had the feds.’ This was a full investigation, testifying under oath, and the no-fly list.”
The comedian famous for never meeting a line she wouldn’t cross eventually learned to lean into the firestorm she’d created.
“I don’t care if you’re a stay-at-home mom or you have an office job, but to then not be doing that which you do for six long years, and to have it come at the behest of the f-ing president, that was the awful part,” she said. “The phone not ringing, the people turning on me, the networks telling me, ‘We love you; we think you’re funny, but you’re too toxic for Middle America’ is of course something I took as a challenge.”
Ironically, Griffin’s number is on a special kind of speed dial list.
“I’m the patron saint of celebrities who’ve gotten canceled for screwed up reasons, and so I will get called,” she said. “Bette Midler called me one time during the Trump’s administration … he was mad at her about a tweet, and she got a call from the Secret Service. She wanted to know what to do and I’m like, do this, this and this, and you say this, and don’t say this.”
On the other hand, “Don’t talk to me about the people who deserve to get canceled,” she continued. “The ones who pissed off the previous administration, I know how to handle those calls. Like, Rudy Giuliani’s daughter … she contacted me and she’s like, ‘I’m so embarrassed about my dad, what do I do?’ I said, ‘You’re stuck with him, honey, just smile and stay gay.’ She’s like, ‘I love you!’ So, I never know about what kind of calls I’m going to get.”
Did any positives come out of her ordeal? “Honestly, I don’t have a lot of good news to report except that it gave me clarity,” she said. “Most of the people that turned on me are still turned against me … it’s particularly people in my industry. I’m just going to call it out, and of course I’ll get in trouble for this as usual, but it was old white guys who identify with Trump far more than they identify with me.”
Griffin is excited to be back in front of audiences. Much of her new cadre of material sticks to the celebrity-dragging and barbs that helped feed her success.
“I’ve always been a magnet for crazy, that’s a gift that I’ve accepted and no longer fight, so, I go into certain situations sometimes, and I just know they’re going to be comedy gold,” she said. “I have a whole new half hour about going to Paris Hilton’s Christmas party that I cannot wait to talk about in Portsmouth. Because it was like a time capsule. First of all, she looks exactly the same, she still wears the pink sparkly dresses and such. It was like going back to 2003. Nothing has changed. I went with Rosie O’Donnell, so it was like the Rosie O’Donnell show was still on daytime, My Life on the D List was still on TV, it was hilarious…. I also like that Paris didn’t let us in the house, which is my favorite thing about when rich people have parties, they have police caution tape, like don’t even think about it. I don’t blame her; she’s been through hell herself.”
She’ll also riff on a certain pop singer but may go a bit gentler on her.
“We can’t not talk about Britney!” she said. “I feel very maternal toward her, I certainly went in hard on her in the ’90s and 2000s, because at that time I was making fun of a young lady that was a multi-multi-multi-millionaire as a teenager and was behaving in ways that sometimes were unique, but no, I’m not making fun of her mental illness. But am I gonna talk about her Instagram? Yes, I am. Can I look away from it? No, I can’t.”
The gloves are off for her former Hamptons neighbor Kanye West, now remarried and causing international incidents with his new wife. “Getting kicked out of Italy, I’ve never heard of that,” Griffin wondered. “I can see getting kicked out of an Italian restaurant but getting kicked out of the entire country because you’re walking around with a pillow and plastic heels? I’ve got to get to the bottom of it.”
Griffin also thinks Kanye is missing his former wife, Kim Kardashian. “A couple of days ago, his pants fell down, and you could see his butt crack. Doesn’t he have a team of people to tell him, pull your pants up, get it together? That’s what I feel Kim did. She would do a little bit of Cher in Moonstruck — ‘snap out of it!’ Because he was a little bit functional then; now he’s just off the rails. I know he has a mental illness, but I don’t care. I’m going right for the misogyny.”
Whatever awaits her as she embarks on her first big domestic tour since her world came crashing down, Kathy Griffin remains defiant. “I have cemented my place in history,” she said. “Actually, as I’m getting older, I’m getting a little proud of it. The fact that I’m still out there, going to work within the same 10-day period of E. Jean Carroll getting her $83 million judgment, I’m starting to have a bit of optimism about this little divided country of ours.”
An Evening with Kathy Griffin
When: Saturday, Feb. 17, 8 p.m.
Where: The Music Hall, 28 Chestnut St., Portsmouth
Tickets: $57.50 and up at themusichall.org
Featured photo: Kathy Griffin. Courtesy photo.
The Music Roundup 24/02/15
Local music news & events
• Dad tribute: The first song A.J. Croce recorded from his father’s catalog after doing Croce by Croce concerts for many years was “I Got A Name.” When Jim Croce died in a 1973 plane crash, his son was 2 years old. Later, one way he got to know him was by studying reels of tape for clues to his artistic process; this led him to realize that they both loved the same American Songbook artists. Thursday, Feb. 15, 7 p.m., Capitol Center for the Arts, 44 S. Main St., Concord, $53.75 and up at ccanh.com.
• Rock’s voice: When Deep Purple made the Rock & Roll Hall of Fame, Glenn Hughes, their co-vocalist and bassist in the mid-’70s, was among those accepting the honor. Hughes plays Deep Purple classics at a local show, with Enuff Z’Nuff opening. Friday, Feb. 16, 8 p.m., Tupelo Music Hall, 10 A St., Derry, $50 and up tupelohall.com.
• Laugh time: Monthly comedy shows continue at a grand buffet Italian restaurant with Paul Nardizzi topping a lineup that also includes Dave Rattigan and Chris Cameron; arrive early for the food and stay for the hilarity. Former Boston Comedy Festival winner Nardizzi has appeared on Late Night with Conan O’Brien, Comedy Central, NESN and Fox Sports’ Best Damn Sports Show Period. Saturday, Feb. 17, 8 pm., Cello’s Farmhouse Italian, 143 Raymond Road, Candia, $30 at eventbrite.com.
• Duo show: A release show celebrates Call and Response, a new EP from Matt Pond PA & Alexa Rose, who decided to connect and make music together after Rose name-checked the band in her song “Wild Peppermint.” The disc includes a lovely take on the Verve’s “Bittersweet Symphony” and the original “Side Eye Rolls,” a Tom Petty-esque rocker that nods to The Big Lebowski’s rug. Sunday, Feb. 18, 7 p.m., The Word Barn, 66 Newfields Road, Exeter, $16 and up at portsmouthtickets.com.
• Celtic connection: With less than a month until St. Patrick’s Day, it’s a good time to enjoy the weekly Irish Sessions at a venerable Concord pub, recently revived after a long hiatus. Settle into a six-dollar pint of Guinness or Smithwick’s, or a Black & Tan combo of the two, paired with fish and chips, beef stew or a Dublin burger, alongside a lively and frequently surprising evening of traditional music. Tuesday, Feb. 20, 6 p.m., The Barley House, 132 N. Main St., Concord, thebarleyhouse.com.
Lisa Frankenstein (PG-13)
A 1980s teen, like, totally grieving for her deceased mother while everybody, even her father, has moved on, finds a friend in a long dead, suddenly reanimated floopy-haired boy who looks good in a Violent Femmes shirt in Lisa Frankenstein, a movie written by Diablo Cody and directed by Zelda Williams (daughter of Robin).
Lisa Swallows (Kathryn Newton) is the new kid in school, in this her senior year, because she and her dad (Joe Chrest) have moved in with his new wife Janet (Carla Gugino) and her teen daughter Taffy (Liza Soberano). Lisa was already deeply traumatized by her mother’s death — at the hands of a serial killer while Lisa hid in a nearby closet, according to Taffy — and seems further traumatized by her father’s remarrying within months and then moving them to a new town. Lisa barely speaks and doesn’t socialize much despite popular Taffy’s genuine and basically good-hearted attempts to pull her out into high school society.
Lisa does allow herself to be dragged to a party where she sees Michael Trent (Henry Eikenberry), head of the high school’s literary magazine, who she is crushing on. Attempts to flirt with him get sidetracked by Tamara (Joey Bree Harris), a gothy girl clearly also crushing on Mike. Tamara sarcastically offers Lisa her drink and Lisa, to prove she’s not the quiet shut-in everyone thinks she is, takes a big swig of it. Unfortunately, it’s a weird high school “wine punch”-or-something drink and she immediately finds herself drunk or high or maybe both. After some puking and dodging a boy who tries to get nonconsensual, Lisa runs out of the party and into a nearby overgrown graveyard.
Luckily, Lisa is familiar with Bachelor Grove Graveyard — she often hangs out there taking rubbings of the headstones and doing other sad-girl things. She even has a favorite headstone, the headstone of a man (the only part of his name we can see is the “ein” end of his last name) whose monument includes a bust with his sad pale face.
As we learned in the movie’s opening shadow-puppet credits, this man was an old-timey unmarried guy who played piano and fell in love with a woman who left him for what I think was a mandolin player. He mopes around and is later killed by a lightning strike.
In the present (late 1980s) day, as Lisa is stumbling around the graveyard, she finds his grave. She had given him her mother’s rosary and as she contemplates her crappy night she makes a wish that she could be with him. Meaning, as she later explains, that she wishes she could be six feet under. But the universe and a mysterious green lightning strike takes it the other way and sends the somewhat decomposed and missing-some-parts man, listed in IMDb as The Creature (Cole Sprouse), back above ground.
The next evening, as Lisa watches a scary movie, the Creature comes stumbling and moaning into her house. She is at first all screaming and running and throwing horrible Janet’s horrible Precious Moments figurines at him. But then she figures out who he is — thanks to a grave rubbing and some pointing (a tongue is one of the parts the Creature is missing). She gets him to take a shower and to keep the crying to a minimum — his tears smell like a hot carnival toilet, she says — and change clothes, eventually finding the kind of blazer-and-band-shirt combo you could picture on a John Cusack character of the same vintage. The Creature becomes someone she can talk to about her feelings and her crush on Michael. He is so nice that when he semi-accidentally kills Janet, Lisa helps him bury Janet’s body and sew Janet’s ear on to the spot where one of his ears has gone missing. At first it doesn’t fully become a part of him but then Lisa remembers Taffy’s malfunctioning tanning bed that electrocutes everybody who uses it.
As the Creature continues to replace his missing parts, he also helps Lisa improve her fashion sense, going from “clothes that make you invisible” to “late 1980s Winona Ryder character at the prom.” He also gets hotter every time he electrocutes himself, going from “obviously undead” to “lightly made-up goth boy.”
There’s a lot here in this emo rom-com with a Heathers throwback vibe that reaches the level of “cute” or even “sorta funny” and there is a genuine human relationship between Lisa and Taffy that you could really build something on. The movie sets a tone that had me willing to go along with whatever silliness it wanted to give me. But, unlike the Creature, this thing never quite zapped to life for me, the nostalgic setting and classic horror movie allusions and extreme examples of crimped hair just didn’t pull together into something that was more than what you get just by hearing the phrase “Diablo Cody writes an ’80s set horror comedy love teen story.” There is a sharpness missing in the comedy or in the romance or somewhere in the mix of this movie that would elevate it from just a throwback curio.
Even though I’d place this movie at around a C+ I’m ultimately not sorry I watched it and, when it is inevitably available for streaming at home, I suspect it will feel like a passable B-.
Rated PG-13 for violent content, bloody images, sexual material, language, sexual assault, teen drinking and drug content, according to the MPA on filmratings.com. Directed by Zelda Williams with a screenplay by Diablo Cody, Lisa Frankenstein is an hour and 41 minutes long and distributed in theaters by Focus Features.
Featured photo: Lisa Frankenstein.
Good Material, by Dolly Alderton
Whether it’s because the holidays were unbearable or Valentine’s Day is even worse, we’re in the time of year that most breakups happen. If you happen to be nursing a broken heart, Good Material, the second novel by British writer Dolly Alderton, will be an excellent companion. And if you’re not, it’s a very good distraction from the post-holiday, mid-winter, my-team’s-wasn’t-in/didn’t-win-the-Super-Bowl blahs.
The novel is centered around the debilitating heartbreak of Andy Dawson, a 35-year-old comedian who just broke up with Jen, his girlfriend of four years. He doesn’t understand what happened — they’d just had a lovely weekend together in Paris, he mournfully tells friends, when Jen tells him that she doesn’t want to be with him anymore. Unfortunately for Andy, that means he’s not only out of a relationship, but out of housing — they’d lived together and Jen’s salary had enabled them to live in much nicer housing than could Andy’s cobbled-together income from comedy gigs and corporate training events.
There is also the not-insignificant problem of their friend group — Jen’s close friend, Jane, is the wife of Andy’s best friend, Avi, and the two couples had been besties for years, leading to all sorts of painful complications in the aftermath of the breakup when Andy moves in with the friends while he’s searching for a place to live and monitoring his newly worrisome bald spot.
But all these problems are secondary to Andy’s heartbreak, which he is desperately and unsuccessfully trying to rid himself of. When he passes a woman wearing Jen’s signature perfume, for example, he goes to the store and buys all they have of that brand and pitches the bottles into a river, saying that’s four fewer times he’ll have to smell Jen again. He obsesses for weeks over whether it’s OK to send her a “happy birthday” text and, if so, what it should say. When that doesn’t go well, he devises a list “of all the other possible events in the coming year that might open the gateway for casual texting,” such as Christmas, his birthday, nuclear disaster and the death of someone they both know.
He tries engaging with other women, and even moving into a houseboat, in order to effect a fresh start. Friends beg him to stop thinking about her. Andy says he wishes he could, but “thinking about her is not a choice … the room inside my mind that has been occupied by her for the last four years still exists. I want to convert it into a home gym or meditation room or get in a new tenant, but I can’t.”
Alderton wrote about love and loss in her 2021 memoir Everything I Know About Love, and she has been called a Nora Ephron (Heartburn) for millennials. Andy the lovelorn is evidence of her experience with the subject matter, as in when she writes of the couple awkwardly meeting to close a joint bank account post-breakup and Andy says it feels like he’s encountering a celebrity: “A couple of months ago, Jen was the woman whose pants I put in the washing machine with mine when I put a load on. Now, she is unfamiliar and untouchable; someone I have a one-way relationship with in photos and memories and in my imagination.”
But it’s going to get even worse a few months later when Andy awakes in the morning to see “one of the worst texts you can wake up to other than being informed of a death” — Hey mate, saw what’s happening online. Hope you’re ok.
As miserable as Andy is throughout much of the story, this is still a very funny book. The protagonist is a comedian, after all, who does things like making mental lists of what he would agree to do in order to have Jen be in love with him again (lose hair at the front of his head, go to her parents’ house every weekend for lunch, never eat ham again) and Alderton’s own comic sense powers even the darkest scenes. There’s also a very funny subplot involving Andy’s eventual landlord, a conspiracy theorist devoted to Julian Assange (there are lots of contemporary references throughout the book) who is trying to get a historical placard for his house because George Harrison once slept there.
In every relationship that fails, Andy reflects four months after the breakup, something called “The Flip” occurs, a change in who wields the most power in the relationship: “The person who is in charge in a relationship is the one who loves the least.” This is among the relationship wisdom that Good Material imparts, another being that when we move on from one partner, we look for the next to provide in spades the 10 percent of whatever was missing from the last one.
But the greatness of the novel comes not from any of this, but from Alderton’s decision to flip the perspective from Andy to Jen at the end of the book, finally answering Andy’s lament, “Why did she break up with me?” — but only to the reader. It’s a masterful technique, one that adds heft and complexity to a story that was already satisfying. A