Bringing the jokes home

Comic Koutrobis films special in Nashua

One of the reasons comics decide to make a special is inertia. Unlike the case for musicians who can lean on their hits forever, once a set of jokes is committed to video, a comedian needs to write some new ones. When Mike Koutrobis greets a hometown audience at Nashua’s Center for the Arts on March 21, he’ll say goodbye to his tight 60, ready to face the blank page.

It makes sense. When Koutrobis began standup 30 years ago, he was a single guy, and the laughs came from trying to remember who was in the photos on his girlfriend’s apartment walls and being stymied by one hung with a sample picture still in it, like some kind of weird test.

These days, he’s married and a father.

“The material’s writing itself now,” Koutrobis said in a recent phone interview. “My son just turned 5 and I’m turning 53. He’s getting more active; I’m getting less active. He’s learning new ways to do things; I’m learning new ways to cope with an injury.”

Entertainment is in his blood. In high school, Koutrobis worked as a professional clown, juggling fire and riding 6-foot unicycles. Upon graduation, “I literally joined the circus,” he said. “The day out of high school, I was a performing clown at York’s Wild Kingdom in Maine.”

At 21 he started hanging out at bars, and soon was hosting karaoke.

“I couldn’t sing, so I made it funny,” he said. “I love the attention — middle child syndrome. It just kept going, and I’ve never turned back. Anything to do with entertainment or being in front of people just attracts me.”

A booking agent pointed him to an open mic night at Stitches in Boston. “He says, you’re funny, do you write jokes? I go, ‘I don’t know … I’m just being myself,’” Koutrobis said. “I went down, and I was absolutely horrible; I still have it on tape, I’ll never get rid of it. I didn’t know what the hell I was doing.”

Rising to the challenge, he kept at it, studying other comics, looking for clues to their success. He recalls Boston comedy legend Patrice O’Neal complimenting him early on. “He goes … ‘I don’t know what the hell it is, but you have something.’ I thought, now I gotta figure out what the hell that is.”

Since then, Koutrobis has done a little bit of everything, appearing in movies and on television, promoting shows, teaching other comics, working as a DJ, and that’s for starters.

“I have 72 jobs,” he said. “I’m literally in a parking lot right now about to be a hospital clown at Tufts Medical Center … there’s not much I don’t do.”

When he quit his day job, Koutrobis realized that ubiquity was his key to success in entertainment.

“I need to be the guy where someone goes, ‘We need this for a party, let’s call Mike — either he does it, or he knows somebody that does.’ My business card says, and it’s my favorite quote of all time: ‘Eventually, you’ll hire me for something.’”

Koutrobis is excited to appear at the newest venue in the town he’s called home since he was a toddler. Advance sales for the show have been brisk.

“I’m already beyond what I was hoping for,” he said. “People from high school that I haven’t spoken to in years are messaging me, and they bought tickets. We’re already over 300 sold, [and] honestly, that was my number.”

A retirement party for material that long served him well had to happen, Koutrobis concluded.

“I got lazy with my writing, but when you put something out there it’s, ‘OK, that stuff’s done now.’ Look at Juston McKinney or Bob Marley, speaking of two local guys. As soon as they put out a CD, or Juston does his Christmas shows, it’s pretty rare you’re going to hear any of those jokes ever again.”

Mike Koutrobis Comedy Special
When: Saturday, March 23, 8pm
Where: Nashua Center for the Arts, 201 Main St., Nashua
Tickets: $27 at nashuacenterforthearts.com

Featured photo: Mike Koutrobis. Courtesy photo.

The Music Roundup 24/03/21

Local music news & events

Emerald Islanders: Keep basking in a green glow at an evening with Altan, a band considered one of Ireland’s finest musical exports. Their just-released album Donegal celebrates the county where they were formed. The new record is also their first with recently added fiddler and singer Claire Friel, who takes a lead vocal on “Faoiseamh a Gheobhadsa.” Thursday, March 21, 7:30 p.m., Rex Theatre, 23 Amherst St., Manchester, $35 and $45 at palacetheatre.org.

Founding father: Richard Thompson has stayed a folk music force since he co-founded Fairpoint Convention in 1967. His memoir, Beeswing, was published in 2021, and he recently dropped “Singapore Sadie,” the first single from the forthcoming album Ship to Shore. Friday, March 22, 8 p.m., Tupelo Music Hall, 10 A St., Derry, $60 and up at tupelomusichall.com.

Helpful humor: Enjoy dinner followed by a free comedy show with Chris Tabb headlining. Presented by the charity-minded Comedy On Purpose, the night includes sets from Sara Poulin, Nick Gordon and Bill Douglas. Saturday, March 23, 7 pm., Stonebridge Country Club, 161 Gorham Pond Road, Goffstown, call 497-8633 for reservations.

Bluegrass power: A regional roots supergroup, Little Wishbone is the combination of Green Heron — married duo Scott Heron and Betsy Green on banjo and fiddle — and Old Hat Bluegrass Band, which has Steve Roy on mandolin, guitarist Whitney Roy and Amanda Kowalski on upright bass. The band plays an afternoon show at a barbecue restaurant run by another member of the bluegrass community. Sunday, March 24, 3 p.m., MrSippy BBQ, 184 S. Main St., Rochester. More at littlewishbone.com.

Empire statement: Extending the program begun 30 years ago by Wynton Marsalis, Jazz at Lincoln Center Presents is a touring initiative currently featuring Bria Skonberg and Benny Benack III, the latter affectionately known as BB3. Both are trumpet players and singers, exploring the Great American Songbook. Wednesday, March 27, 7 p.m., Capitol Center for the Arts, 44 S. Main St., Concord, $43.75 and up at ccanh.com.

Unshrinking, by Kate Manne

Unshrinking, by Kate Manne (Crown, 277 pages)

The national airline of Finland announced recently that it would ask passengers to step on a scale with their carry-on luggage in order to get an accurate assessment of the plane’s load and ensure a “safe takeoff.” It’s voluntary, inasmuch as is possible with the airline essentially saying we could crash if you don’t comply.

There was immediate backlash, with some calling the policy “fatphobic,” which is the popular catch-all term for any sort of perceived discrimination or cruelty against people with overweight or obesity (to use the preferred medical terminology these days). But it’s great timing for Kate Manne, a philosopher and associate professor at Cornell University, who has taken up the crusade against fatphobia in her third book, Unshrinking: How to Face Fatphobia.

In Unshrinking, Manne brings a philosopher’s take to a subject that Roxanne Gay, Lindy West and other writers have tackled: the hardships and cruelties that people with large bodies suffer as they navigate a world that prizes thinness. The solution that fat people (her preferred term) are usually offered is the suggestion to lose weight. But Manne believes it’s the world that needs to change, not people who are overweight. People should have the right to be any size they choose without the expectation of discrimination or mockery, she says; in fact, she argues, being a hundred, or a couple of hundred, pounds over what the doctor says we should weigh is another form of diversity, like skin color or the shape of our nose.

While Manne has been a range of sizes over the course of her life — she says almost apologetically that she is not currently significantly overweight — she was overweight enough as a child to endure the frequent casual cruelty that can stay with a person for a life. She recalls, for example, the boy in fifth grade who said “Fat little Kate-lyn” to her in P.E. class and another boy who ranked her attractiveness saying her figure “left something to be desired.”

Internalized, these sorts of insults convince a person that their body is something to be ashamed of, leading grown women with graduate degrees and good careers to still feel inferior when it comes to their body.

“I have been swimming just once since the age of sixteen. (I wore leggings and an oversized T-shirt.) I haven’t been dancing since I was twenty. And nobody, save my husband and doctors, has seen the dimpled, stretch-marked backs of my knees over the same time period,” Manne writes.

It wasn’t that she hadn’t tried to lose weight, and at times, she had done so successfully — as when she developed an Adderall addiction and once didn’t eat for a week, causing her to nearly pass out during a doctor’s appointment. But her weight would go up and down, and when in 2019 she was offered an all-expenses-paid book tour in Europe in conjunction with the paperback release of her book Down Girl, she refused to be photographed. It was a time when her doctor’s chart categorized her as “severely obese” and she couldn’t bear for photographs of her at that weight to go out into the world.

Then came the pandemic, during which she began to imagine a world in which she didn’t always feel the need to hide. This did not involve a diet — Manne argues, with lots of science to back her up, that diets don’t work and instead inflict suffering. Instead she imagined a world in which the word “fat” is a neutral term, not an insult, and in which large bodies aren’t judged.

Fatphobia, Manne says, is a “feature of social systems that unjustly rank fatter bodies as inferior to thinner bodies, in terms of not only our health but also our moral, sexual, and intellectual status.” The book catalogs many of these from Jordan Peterson’s “Sorry, not beautiful” pronouncement about a Sports Illustrated swimsuit model to examples of professional women viewed as less intelligent than their peers because of their weight. In these sorts of stories, Manne has a slam-dunk case; there is no question that fat-shaming is one of the last kinds of shaming that are permissible and Hollywood has helped perpetuate this idea.

Manne also deftly pokes holes in the arguments that defend treating large people differently from others. Her fellow Australian philosopher Peter Singer, for example, argues that airlines should set fares based on the weight of the passengers. “In terms of the airplane’s fuel consumption, it is all the same, whether the extra weight is baggage or body fat,” Singer has written. Manne counters with a calculation that shows it would cost just a few dollars more in fuel to transport an overweight man than a thin woman. She is at her best with this kind of sparring, and Unshrinking is thoughtful and deeply researched, belying a cover that suggests otherwise.

Ultimately, though, this is not a book that solves arguments, but rather raises them. Obesity is surging not only in America but in other parts of the world, and health experts say that excess weight is a factor in many types of cancer and other diseases. Yo-yo dieting is certainly not the answer, and weight-loss surgeries and drugs carry risks, as Manne points out. She wants a society where there is no pressure for people to lose weight — even at the doctor’s office — and where we don’t have to feel shame for succumbing to our appetites, for choosing lasagna over grilled vegetables. But with mounting evidence that restricting calories improves health outcomes — even for people who are not overweight — it will be hard for some people to accept her defense of hedonistic eating. Grilled veggies are better for the human body than lasagna, and no amount of fat acceptance can change that. BJennifer Graham

Album Reviews 24/03/21

The Church, Eros Zeta and the Perfumed Guitars (Communicating Vessels)

Some things never change, especially when they really should, but different strokes and all that. I’ve never been big into this ’80s-born band, even if The Cure’s Robert Smith stole the dreary, depressing vibe for “Lovesong” from this band’s 1988 tune “Under The Milky Way.” These Aussies have always been a sort of middling punk-influenced rawk band, but despite that, they do try to innovate and otherwise keep things relatively lively. Their last LP, The Hypnogogue, was a concept thing aiming for epicness, which I thankfully don’t have to deal with here. “Pleasure” is pretty uneventful, the same flavor of Lost Boys soundtrack filler they’ve specialized in since the beginning: sparkly guitar, low-end-Bowie vocals, that sort of business. “Song 18” is confounding, a chill-down that nicks Bowie in spaceman mode (yes, there’s a discernible pattern here). They’ll be at Royale in Boston on June 21. A- —Eric W. Saeger

Sam Wilson, Wintertides (Communicating Vessels)

Professed to be a meditation on how landscape and environment inspire her tuneage through her love and empathy for natural places, this is a sparse, gentle release from the jazz guitarist, nestled into a trio setting touching on post-bop. This LP grew organically: In 2020 Wilson made the decision to move out to the rural community of Scotsburn, Nova Scotia. It was a change that would soon prove both trying and isolating as pandemic restrictions came into play — especially once she hit the province’s notoriously grueling winter season. Jen Yakamovich’s drums are smooth and sublime, delivered with a lot of brushed snare; Geordie Hart’s upright bass stretches out now and then for the sake of eerie acoustics. It’s all quite absorbing; the RIYL comparisons here would include Ralph Towner and Michael Hedges. A —Eric W. Saeger

Playlist

A seriously abridged compendium of recent and future CD releases

• Like every Friday, March 22 will be a day of new album releases, because we love our routines, oh lovely, I get to rant about Tool this week! Yep, look at this, folks, Tool’s singer, Maynard James Keenan, is putting out a new live solo album on Friday, called Cinquanta: A 50th Birthday Celebration For Maynard James Keenan. Cinquanta means “fifty” in Italian. Why did he do that? Well, I’m glad you asked. It’s because he turned the big five-oh and there was a celebration concert for it, and plus he posts about tacos a lot on Instagram, no, I’m not kidding, guys. When I turned 50 I quit butts for my vape. I can’t even believe what butts cost now, like 10 dollars a pack, that’s insane. But you know what else is insane is Tool fans, like, if you don’t like that dumb band, their fans shun you like you kicked their dog or something. Talk about a hilariously overrated band, but even worse is Maynard’s other band, A Perfect Circle, which I’d heard was supposed to be one of those cool goth-industrial bands like Collide, but when I tried to listen to one of their albums I was like, “What’s the big deal here,” and never really tried again. I mean, if you like them, all I have to say is “I don’t care!” the same way Tommy Lee Jones did in The Fugitive when Harrison Ford told him he didn’t moider his wife. Get what I’m saying, see, I’ve never heard a Tool song I liked, but I haven’t listened to all their albums, just the ones that aren’t anywhere near as good as any random Pendulum album, so if you like Tool and didn’t moider anyone, we can still be good friends, just don’t try to get me to go to a Tool concert, see, because I won’t go, even if it’s free, which is about the right price for a Tool concert ticket if you ask me.

OK so anyway, back to Taco Man here, and his new live album, do I really have to do this? Yikes, the cover is Maynard wearing a diaper and yelling in a crib, may I go now? OMG this performance is from 2014, and there’s a live version of Tool’s “Sober.” Huh, I always thought that song was by Live. I never liked it, probably because I’m stupid, right, Tool fans?

• All this yelling about Tool, leaves me barely any room to talk about Tigers Blood, the new album from indie-folk fixtures Waxahatchee. If you can picture Alanis doing a cover of a Bonnie Raitt song you’re in the ballpark with the latest single, “Bored,” a strummy, upbeat, listenable tune that I don’t detest in the least.

• Randomly famous Colombian person Shakira has a lot of fans and isn’t as annoying as P!nk, and that’s all I’ve ever really cared to know about all this. Her new album, Las Mujeres Ya No Lloran, is on the way. It has an old-school ’80s technopop beat punctuated with her hiccuppy singing and a millennial whoop chorus. It’s catchy.

• Lastly, it’s the one I’ve been waiting for, the new album from British art-rockers Elbow, Audio Vertigo! The band is led by singer Guy Garvey, a working[-class dude who nowadays is also a radio personality on BBC 6. I first got into them in 2011, when they released the LP Build A Rocket Boys; I’ve lost track of them the last few years, so it was nice to hear their new single, “Balu,” with its Coldplay-informed ’80s-goth-ish vibe. The spidery bass line is super-neat. Big ups to this. —Eric W. Saeger

Cheesecake

The faded, stained recipe is in the back of a scrapbook where I keep recipes I’ve been meaning to try. The title on the top reads, “Juanita’s Cheesecake.” I barely remember who Juanita is — the sister of a good friend of my mother’s, and I probably only met her a couple of times in my childhood. But I distinctly remember my mother saying at some point that Juanita made the world’s best cheesecake.

Juanita’s Cheesecake

Crust

About 2 cups (9 ounces / 252 g) cookie crumbs – traditionally these would be graham cracker crumbs, but any crunchy cookie will work; for this cheesecake I used America’s most under-rated cookie, Vienna Fingers

½ cup (1 stick) butter

The Body of the Cheesecake

2 8-ounce packages of room-temperature cream cheese

¾ cup (148 g) sugar

4 eggs

1 teaspoon vanilla

The Topping

1 cup (8 ounces / 227 g) sour cream

2 Tablespoons sugar

1 teaspoon vanilla

Preheat the oven to 350ºF.

Grease the bottom and sides of an 8-inch spring-form pan. Line the bottom of the pan with parchment paper, which will stick, now that you’ve put a layer of fat down.

Grind your cookies into crumbs. Either use a food-processor, or use a zip-lock bag and a rolling pin. You’ll quickly find that it’s more a matter of leaning in and crushing the cookies, rather than rolling them.

Put your butter in a medium-sized plastic or glass bowl, and melt the butter in the microwave. Add the cookie crumbs to the melted butter, and stir until completely combined. Press the crust mixture into the bottom of your spring-form pan. Chill in the refrigerator until you need it. If you used the rolling pin method, this will look less like a conventional graham cracker crust, and more like somebody did something terrible to some Fruity Pebbles.

Mix the cream cheese at medium-high speed until it is light and fluffy. Slowly pour the sugar in, followed by the eggs, one at a time. Let each ingredient combine thoroughly before adding the next, then add the vanilla.

Scrape down the sides of your bowl, then mix again to make certain all the ingredients have been incorporated. Pour the batter into your prepared pan, and put it in the oven to bake. Juanita seems to suggest that this will take about half an hour, but she also suggested a shallower pan, which would speed things up considerably. In my experience, the cheesecake should bake for about 55 minutes. Don’t worry about using a water bath; any cracks will be covered by the topping layer.

Remove the cheesecake from the oven when it is lightly golden-brown and a toothpick comes out clean from the center.

In another bowl — or the cookie crust one, if you’ve stayed on top of your dishes — mix the sour cream, sugar and vanilla together with a spoon. Pour on top of your cheesecake, spread it evenly, and return it to the oven. Juanita suggests 10 minutes should be enough. My mileage says 25. This is a judgment call on your part. You just want to cook it until it is dry and solid-looking. I like it to have a little color, but that’s just me.

Leave the cheesecake on your counter for an hour or so to cool. Cover it with a large bowl if you have small children or cats. It will eventually contract, pulling itself away from the side of the pan. Remember to remove your parchment paper when you remove it from the pan.

If you’re used to today’s cheesecakes, which have strong flavors that knock you over the head with a club and drag you back to their cave, this cheesecake will be something of a revelation. It tastes exactly like what it is: dairy, eggs, and a little sugar.

This recipe did not deserve to sit alone and unappreciated since the Nixon administration.

Featured photo: Cheesecake. Photo by John Fladd.

In the kitchen with Steve Hardy

General manager and head cook at Yankee Lanes (216 Maple St., Manchester, 625-9656, manchester.yankeelanesentertainment.com)

Steve Hardy at Yankee Lanes is working to change the perception of Bowling Food.“We’re trying to up the ante on our food preparation and service,” Hardy said. In spite of the casual atmosphere of a bowling alley, he tries to offer foods that appeal to a variety of palates, serving everything from fried pickles to steak tips. He takes even snack foods seriously. Case in point: his hand-cut french fries, which are soaked in cold water to remove some of the starch, then fried twice, once at a relatively low temperature to cook the potatoes all the way through, and then, after a rest, again at a high temperature to ensure a crisp exterior.

What dish do you have to have on your menu?

Steak tips, I have a really good following for the recipe.

What would you have for your last meal?

Steak, definitely steak. I’m clearly a steak guy.

What is your favorite local eatery?

Stumble Inn, besides here of course.

Name a celebrity you would like to see eating at the bowling alley.

Gordon Ramsay.

What is your favorite thing on your menu?

Our burgers are GREAT! They’re half a pound and cooked to the customer’s specification.

What is the biggest food trend you see in New Hampshire right now?

Mexican and Asian-style food is on the rise here with some really great choices.

What is your favorite thing to cook at home?

Pot roast; it’s simple, easy and delicious.

Featured Photo: Steve Hardy, General manager and head cook at Yankee Lanes. Courtesy Photo.

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