Tag: 241003

Native son

Juston McKinney returns to the Palace

It’s a long-accepted truth that any New England comedian who hopes to make it needs to move, either to New York or Los Angeles. Juston McKinney went west as a young comic. However, when he and his future wife began house-shopping in 2006, the Portsmouth native got pulled back to his home.

“It was the real estate market’s peak, and a two-bedroom in L.A. cost $500,000, so we started looking east,” he recalled by phone recently. “We went to Barstow, California, and then a little further to Nevada…. We ended up in Newmarket, New Hampshire.”

The forced decision turned out to be fortuitous. Nearly two decades later McKinney is among a handful of regional comedians who rarely need to leave town, though he did recently appear in Florida and Minnesota. The comic has two shows coming up at the Palace Theatre on Oct. 5. McKinney likes coming back to the venue in Manchester; he’s filmed two specials there. He describes it as an opera house with an intimate club vibe. “Everyone’s right on top of you and it doesn’t go too high,” he said. “Just the acoustics and the layout … there’s no room I can think of that I like more, let’s put it that way.”

The key to McKinney’s success is twofold: he’s relatable, and he never performs the same show twice. The comic draws from his life for laughs, talking about the relative absurdities of being a father of two boys who are now teenagers, and the ongoing bewilderment of married life.

As the kids have grown, his jokes have evolved. These days he’s a soccer dad who complains about having to drive close to Canada to play a high school team who’s lifted the New England Patriots name and logo. “This far north, trademark law doesn’t apply,” he said on Instagram, adding later, “If Robert Kraft gets an anonymous email … it didn’t come from me.”

Before he started in comedy, McKinney was a deputy sheriff in rural Maine. He had a rough childhood; his mother died when he was young, and his father reacted by retreating into alcoholism. Gratefully, dad’s been sober for many years now, and his past is a source of humor for the comic. “I once got hit by a drunk driver,” he said. “I mean, my dad reached over from the driver’s seat and smacked me.”

Last May, McKinney appeared at TEDx Portsmouth, where he talked about his personal life. “I stepped out of my comfort zone and talked a little bit about my story and my background,” he said. One of his memories was about a show he did in Portsmouth at a restaurant on Islington Street that turned into a humbling night.

“It went pretty good,” he recalled. “Then my dad goes up. He’s got a long gray beard and a red shirt on, and he tries to grab the microphone from the headliner on stage. Two bouncers have to come and pull him off. The headliner just goes, ‘It looks like Santa went on a binge this year.’ It got a huge laugh, bigger than the one I got on stage.”

McKinney took a serious tone at the end of the interview to talk about the problem of sketchy websites selling marked up tickets to his shows. “It’s one of the things that it’s so annoying right now for performers,” he said, adding, “Always go to the venue site, so you pay face value. I’m not worth $100 a ticket… $32.50 and you’ll get your money’s worth. The next time you go see me, it’s gonna feel like you got a deal.”

Juston McKinney
When: Saturday, Oct. 5, at 5 and 8 p.m.
Where: Palace Theatre, 80 Hanover St., Manchester
Tickets: $32.50 at palacetheatre.org

Featured photo: Juston McKinney. Courtesy photo.

The Music Roundup 24/10/03

Local music news & events

• Clean comic: Along with eschewing profanity, Brian Regan assiduously avoids politics in his act. He does, however, have one woke joke. Growing up, his parents often made Regan and his siblings vote on playtime activities. With four boys and two girls in the family, it was inherently undemocratic. “I didn’t like that, so I voted for dolls,” the enlightened comedian quipped. Thursday, Oct. 3, 8 p.m., Tupelo Music Hall, 10 A St., Derry, $55 and up at tupelomusichall.com.

• Special nights: A unique string quartet version of Five For Fighting (nom de guerre of John Ondrasik) performs two area shows. The artist behind the song “Superman (It’s Not Easy)” says the configuration, which includes many Broadway musicians, lets him go behind the music, tell stories and dive deep into his catalog. Thursday, Oct. 3, 7:30 p.m., Nashua Center for the Arts, 201 Main St., Nashua, $49 and up at etix.com (also Oct. 4 at 7:30 p.m., Colonial Theatre, Laconia).

• Funky music: Still grooving over three decades on, Moon Boot Lover, led by guitarist-singer Peter Prince, return to a favorite area haunt for an evening of their signature Rock-ET Soul. It’s a blend of Otis Redding and Al Green’s vocal grit and honey, Jimi Hendrix’s pyrotechnics and the classic rock swagger of Led Zeppelin and Grand Funk, all served up in a soulful package. Friday, Oct. 4, 9 p.m., Penuche’s Ale House, 16 Bicentennial Square, Concord, peterprincemusic.com.

• Granite sounds: New Hampshire native Cosy Sheridan performs with her trio. Sheridan came up in the early ’90s folk boom, winning Kerrville Folk Festival’s New Song Award and the Telluride Bluegrass Festival Troubadour Contest. Kate Redgate rounds out this 603 Music show. Saturday, Oct. 5, 7:30 p.m., Rex Theatre, 23 Amherst St., Manchester, $29 at palacetheatre.org.

• Brewery bash: It’s the time of year when beers get darker, as Weare cover band Speed Trap plays an Oktoberfest party to mark the release of one seasonal offering. For those still holding onto warm weather, there will be IPAs and lagers for quaffing while listening to the lively quintet, whose set highlights include a Clapton-esque “I Shot the Sheriff” and other classic rock hits. Sunday, Oct. 6, at 3 p.m., Henniker Brewing, 129 Centerville Road, Henniker, hennikerbrewing.com.

Will & Harper (R)

Will Ferrell and longtime friend Harper Steele take a road trip across America in the sweet, hopeful documentary Will & Harper.

Harper Steele was a Saturday Night Live writer, eventually becoming head writer, with Ferrell and is a writer on many of Ferrell’s more delightfully weird projects like the Lifetime movie A Deadly Adoption, the Spanish-language Casa de mi Padre and the charming Eurovision Song Contest: The Story of Fire Saga. In 2022, Harper sent an email to Ferrell and others coming out as a trans woman. The responses, at least from Will, Harper’s sister and others we meet in this doc, were positive — though we learn Tim Meadows’ initial response was based on his belief that Harper was basically doing a bit (which feels like an occupational hazard for those in the comedy universe trying to make any big personal announcement).

Before transitioning, Harper had been a regular cross-country traveler with a particular fondness for greasy spoons and dive bars. Can she still visit these places now, especially with the current political climate of the country? To find out, she and Will hit the road together, well aware that Will’s famous face will smooth the way but also provide her kind of a testing of the middle-American waters.

Often, but not always, what they find is people who are generally welcoming and even touching at times as they explain exactly what they are doing — visiting the kinds of places Harper has always loved now that she’s transitioned. A bar in Oklahoma becomes kind of a love-fest, with a group of Native men singing for Harper. They are given a large welcome at an Indiana Pacers game — but only later do they discover that the governor who was part of the event was Eric Holcomb, signer of anti-trans bills. A steak dinner in Texas gets weird, though the true vitriol seems to come out later online. In fact generally the true vitriol seems to come out online — though Harper points out that that stuff takes a toll too, a garbage bag of insults and smears that she hauls around in her mind all the time.

Talking about things — the struggles Harper has gone through to get to this happier place, her fears, Will’s questions — also makes up a big part of the movie. The two of them talk with a blend of emotional honesty and vulnerability and, of course because it’s these two, pretty solid comic timing. It makes for a sweet rumination on friendship as well as a raw but hopeful look at how Harper found her full self in late middle age. A

Rated R for language, according to the MPA on filmratings.com. Directed by Josh Greenbaum, Will & Harper is an hour and 54 minutes long and distributed by Netflix, where it is streaming.

Rez Ball (PG-13)

A high school basketball team tries to rally after tragedy in Rez Ball, a winning sports story based on the nonfiction book Canyon Dreams: A Basketball Season on the Navajo Nation by Michael Powell.

Nataani Jackson (Kusem Goodwind) is the star player of the Chuska Warriors, a high school basketball team from New Mexico. He is barely hanging on after losing his mother and sister in a car accident but even his best friend Jimmy (Kauchani Bratt) doesn’t realize how dark a space he’s in until Jimmy and the rest of the team learn that Nataani has died by suicide. They are heartbroken and also sort of lost as to how to continue their season without Nataani.

Coach Heather Hobbs (Jessica Matten, who I last saw in Dark Winds; streaming now on Amazon Prime!) seems a little lost in her own life — recently dumped, looking but unable to find her next-step job. She resets the team, and by extension herself, by reaching out to a former coach (Ernest Tsosie III) and getting the boys to play the quicker-to-shoot and faster-in-general “rez ball”-style game that will help to tire out opponents. Jimmy, deep in grief and dealing with his mother (Julia Jones), who is struggling with alcoholism, is maybe the hardest to bring around but also the player with the most potential leadership ability.

This movie hits many of the standard beats — team working to bring itself back, playoffs, a rival team — but it tells that story with details that feel specific to these characters and their world. And Rez Ball is filled with excellent performances — from small roles, like Dallas Goldtooth (Reservation Dog’s Spirit) as a sports announcer and Ryan Begay as Nataani’s heartbroken father, to Matten and Jones and all the boys on the team. A

Rated PG-13 for thematic elements including suicide, teen drug/alcohol use,language and some crude references, according to the MPA at filmratings.com. Directed by Sydney Freeland with a screenplay by Sydney Freeland and Sterlin Harjo (creator of the excellent Reservation Dogs; go watch Reservation Dogs on Hulu!), Rez Ball is an hour and 51 minutes long and is distributed by Netflix, where it is streaming.

By Any Other Name, by Jodi Picoult

By Any Other Name, by Jodi Picoult (Ballantine Books, 544 pages)

Jodi Picoult does not shy away from heavy-hitting topics. In the same way that she tackles things like abortion in A Spark of Light, teen suicide in The Pact, school shootings in 19 Minutes, and Covid in Wish You Were Here, Picoult dives into the silencing of women today and throughout history in her latest, By Any Other Name.

Many of Picoult’s recent books have frustrated me with their strong political views and cultural commentary, not because I disagree with her, necessarily, but because I don’t want any author’s viewpoints shoved down my throat — put the topic out there and let me think about it. Also, I want my fiction to be a little more fictitious and a little less like I’m reading an op-ed in today’s newspaper.

By Any Other Name explores the history of repressed women in a way that mostly allows the story to do the talking. The book has two storylines: One harkens back to the 16th and 17th centuries and follows the semi-fictional life of a real woman, Emilia Bassano. Based on significant research, Picoult depicts her as a closet writer who is forced to be a lord’s courtesan for many years, then an abused wife for many more — all while writing poems and plays that an actor named William Shakespeare publishes for her under his name.

The second storyline takes place in modern day and follows Melina Green, a playwright who struggles to get her works produced, presumably because she is a woman. This is somewhat proven when one of her plays — about her ancestor, Emilia — finally gets published after its authorship is mistakenly attributed to her best friend, Andre. The irony here is that Andre is gay and Black and far from the cis white male stereotype that Picoult suggests dominates even the modern playwriting field.

Interestingly, given the subject, I felt that Melina and Emilia’s storylines could have been written by two different authors — Melina’s clearly by Picoult, where the moral of the story may as well be bolded, underlined and highlighted. (One of many examples is when Melina is talking to theater critic Jasper Tolle about why plays about “complicated, wholly realized women” don’t make it to the stage. When he says that she’s “painting with a very broad brush when it comes to what gets produced and what doesn’t,” she responds, “That is exactly the kind of thing a straight white man would say,” then waits for him to tell her she’s wrong — “which,” Picoult writes, “of course, would be proof of everything she was alleging.” Tell me, Ms. Picoult, how you really feel…).

Emilia’s story, on the other hand, seemingly could have been written by, well, any other name. Maybe this is a testament to Picoult’s ability to immerse herself in a different time period and develop a narrative based on thorough research, losing her own voice in Emilia’s in a way that she doesn’t with Melina, whose story is entirely fictional. With Emilia, it seems, all Picoult has to do is tell it like it is to get the point across (regarding Emilia’s forced relationship with Lord Chamberlain, she writes that Emilia “had been sold by her family, for her family” — no opinion there, just a fact that speaks volumes).

The difference in storytelling is somehow both fascinating and off-putting.

What I like about Emilia’s story: Emilia herself is a well-developed character whose strengths are best defined in her resilience and her intelligence; she uses both to get her writing in front of an audience, willing to forgo acknowledgment of her work in order to show her words to the world — and to make some much-needed money, as Shakespeare gave her a small portion of “his” earnings.

I also like Emilia’s secret friendship with Christopher “Kit” Marlowe, a well-known Elizabethan poet and playwright who was purportedly gay, a heavy drinker and a spy. Kit is rough around the edges but becomes a great friend to Emilia, adding an unexpected emotional arc and some comic relief. Meanwhile, Emilia’s secret relationship with Southampton is lovely and passionate and shows a spark of brightness that typically lies dormant inside her.

Emilia’s arranged relationship with Lord Chamberlain is not nearly as bad as it could be (as we see later, when she is beaten severely and often by the man she is forced to marry). She isn’t his mistress by choice, but Lord Chamberlain is a kind man, never controlling or cruel, and she benefits from both his wealth and the autonomy he grants her. She is, for those years, “a nightingale in the loveliest of cages.”

Melina’s story, by comparison, is more straightforward, specifically addressing her challenges as a female playwright. Her friendship with Andre is fun and quippy (at least at first), and her interactions with Jasper are intriguing. Her chapters are a breath of fresh, modern air, if you can get past the heavy-handed feminist commentary.

There’s a lot to like in By Any Other Name, but there’s also a lot going on — a lot of characters and a lot of scenes (if this were a play the stage crew would be marathon-level exhausted by the final act).

There were parts that dragged a bit and sometimes seemed redundant, especially in Emilia’s chapters. If I had been able to appreciate more of the Shakespearean references that Picoult weaves into those chapters — as notated at the end of the book — it probably would have enhanced my reading experience. But I’m a former English major who actually studied some Shakespeare (albeit more than two decades ago), so I have to question how much this will appeal to the masses.

By Any Other Name takes the often questioned legitimacy of Shakespeare’s authorship and makes a compelling case while weaving in a modern story that Picoult uses to show how far we’ve come as a society but also how far we have to go. It’s a long but worthwhile journey if you like strong female characters or you’re captivated by the idea that Romeo and Juliet may have been penned by a woman. B+ —Meghan Siegler

Album Reviews 24/10/03


Randy Ingram, Aries Dance (Sounderscore Record

Often, this Los Angeles-based jazz pianist astutely refers to his playing as “dancing,” a descriptor one could toss out to denote any similar keyboard-meister. Other critics have dubbed his playing “strong,” “personal,” “passionate” and “self-possessed,” adjectives that are also generically accurate when one is trying to paint a picture of a pianist whose mastery evokes ritzy ballrooms as opposed to smoke-filled bars. The thing about this swing-influenced fellow is that he’s devoutly determined to match up well with his drummers, in this case legendary Herbie Hancock/Stan Getz/etc. beat-keeper Billy Hart, who at age 83 doesn’t hold back, and in fact, if I’m forced to quibble with any of the soundscaping on this record, it’d be that Hart’s toms are a tad loud in the mix (usual caveat applies: others would argue that it makes it sound more organic). But anyway, yes, it’s livelier than most of the piano-led trios that wander into my mailbox, and the song selections are first-class, from the almost Beethoven-like interpretation of Wayne Shorter’s “Penelope” to the night-cruising original “Para Milton e Pedro,” it’s an exquisitely elegant trip. A

The Disappearing Act, An Illusion (Happiness [A Record Label])

This on-again-off-again indie band hasn’t released an album since Born to Say Goodbye nine years ago. While researching this outfit I had to check out a few D-tier bands that are cited as RIYL soundalikes, one of them being Motorcade, which do sound like this but with a lot spiffier production values (Apples In Stereo are also mentioned, which couldn’t be farther off). But you don’t want to spend the next three minutes getting caught up with bands that have less than 2,500 YouTube listens and I respect that; the long and short of it is that this sounds like a more animated Pavement that’s on Velvet Underground’s plethora of drugs. As such, if you’re like me — an adrenaline junkie with debilitating ADD — you’ll find that it plods along for the most part, you know, strummy-strum-strum, edgy platitudes piled one on top of the other like it’s a competition, etc. The Beck-begging “Why Is Everybody So Damn Happy” is a sentiment that shows the band isn’t paying attention to all the anxiety and self-hatred on social media nowadays; it’s kind of quaint in that regard. Yucky poo. B-

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Onward we slog, me hardies, onward we slog to this Friday, Oct. 4, when new music albums will wash over our decks and near-drown our persons in twerking butt music, poorly written (on purpose, as we’ve seen) indie rock, nepo baby nonsense and probably tons of metal albums, because those guys never shut up, even for a minute. Oh, well, at least it’s Halloween month, and who better to usher in the festivities than British arena-indie legends Coldplay, with their suuuper-scaaary frontman Chris Martin, who was married to the even scaaarier Gwyneth Paltrow for a week or however long it was. As you may or may not know, Coldplay is widely considered indie-rock’s answer to Creed in too-online circles, in other words not too many people take them seriously. However, the band does have a fan here at the Hippo’s front offices (it’s either Coldplay or Five For Fighting, I’m not really sure, but let’s just proceed), so I will be nice and listen to their forthcoming new album, Moon Music, with an open mind and a full bottle of Southern Comfort, because it’s only fair! In case you’re intelligent and ignore celebrity gossip like most people avoid open elevator shafts, things have changed for Chris Martin! After Gwyneth yelled “Seize him!” and her scimitar-wielding guards threw him out of her weird-smelling mega-mansion, he hooked up with alpha nepo-baby Dakota Johnson of really-bad-movies fame, and that’s where we stand at the moment, waiting for him to announce another thing that’s really strange about him! But in the meantime, this new album is already available on YouTube, let me go check it out and start typing things about it before I bag the whole idea and just find a decent kazoo-and-jaw harp band that’s releasing an album of Metallica covers to review instead of Moon Music. Right, the first song on here is called “feelslikeimfallinginlove,” see what they did there. Ha ha, the video has people hand-dancing like Napoleon Dynamite, and the tune is mellow soccer-parent somnambulism, very polite, appropriately melodic, it’ll be a huge hit on Good Morning America and such. Is Coldplay the Aughts version of The Beatles/Pearl Jam? Discuss.

• Hold the phone, guys, something interesting is here, namely a band called Memorials, with their new album, Memorial Waterslides! Why are they interesting? I’m glad you asked: The band features Electrane’s Verity Susman and Wire’s Matthew Simms, and as you know, I’m one of those inappropriate misfits who loves Wire, so I’ll listen to anything any of those guys puts out, including this, even though Simms only joined the 48-year-old band as their guitarist in 2010. Yikes, there’s like no promotion for these guys, I had to dig around YouTube for an entire eight minutes before I found the single, “Cut It Like A Diamond,” how am I the only person on Earth who cares about Wire? In short, it’s awesome, a psychedelic-art-rock tune that makes like Flaming Lips trying to be David Essex, won’t you people please love this?

• Alicia Keys is a fan of San Diego band Thee Sacred Souls, so they might be good, I don’t know! Their new LP Got A Story To Tell includes a torchy reggae-soul tune called “Lucid Girl,” you’ll probably like it if you dig both Bob Marley and Smokey Robinson. They’ll be at Roadrunner in Boston on Nov. 10.

• Finally it’s Canadian indietronica act Caribou, aka Dan Snaith, with a new album, called Honey! The title track has been around a few months and it’s really quite good, a wub-wubby, jungle-infused IDM track that’ll fit your brain like a pair of thick comfy socks. Very kyewl.

Behind God’s Back

This is an extremely good cocktail, with an even better name.

  • ⅓ ounce cinnamon syrup (see below)
  • ¼ ounce orgeat (an almond syrup used in tropical drinks) – I buy mine online or at the liquor store
  • ½ ounce pineapple juice
  • ¾ ounce fresh squeezed lime juice
  • 2 ounces golden rum – I used Planteray’s “Stiggin’s Fancy” Pineapple Rum; it’s smooth and a little sweet and marries well with the other ingredients in this cocktail
  • 2 dashes Peychaud’s Bitters
  • 2 dashes Angostura Bitters
  • Ice
  • Mint sprig for garnish

Wrap several handfuls of ice cubes in a tea towel, then smash repeatedly with something heavy. (I use the pestle from my largest mortar and pestle; it’s the size and shape of a billy club.) This will provide you with a variety of ice, from one or two full cubes, to broken cubes, to crushed ice, to snow. If you have a Pilsner glass, fill it with the ice; otherwise fill any medium-sized tall glass.

Pour the syrups, juices and rum over the top of the ice. Stir with a bar spoon or a straw or a chopstick, then top it off with the bitters and garnish it with a mint sprig.

This drink will hit you differently depending on how you drink it. If you go at it immediately, with a straw, it will be pretty sweet. Only a hint of cinnamon on the back end keeps it from being a little syrupy. If you sip it from the lip of the glass, the bitters will give it a slightly savory backbone. If you start with just a sip or two, have an in-depth discussion about the relative merits of bagpipe jazz or Klingon love poetry, then come back to it 10 minutes or so later, the crushed ice will have melted, diluting the cocktail a bit as well as chilling the drink.

Cinnamon Syrup

  • 2 cups (396 g) granulated sugar
  • 1 cup (227 g) water
  • 7 cinnamon sticks

Combine all ingredients in a small saucepan and bring to a boil over medium heat. Remove from heat, cover, and leave overnight or at least six or seven hours. Strain and bottle. This will last at least a month in your refrigerator. It is outstanding in cocktails, of course, but even better over French toast.

Featured Photo: Photo by John Fladd.

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