famous in a small town

I was a big fan of the Andy Griffith Show. I still am. I have seen the original 249 episodes so many times that it's gotten to the point where I can identify a particular episode within the first minute. (Sadly, I watch so much "classic" television, I can employ this same ability with many shows. Kind of like a trained monkey.) 

Nothing compares to you

The "Andy Taylor" character was introduced on a 1960 episode of The Danny Thomas Show as a back-door pilot. General Foods, the show's sponsor, immediately signed to back the new series and The Andy Griffith Show debuted later the same year. At first, Andy Griffith's character was a scheming, backwoods "good ol' boy," presiding as sheriff over the fictional North Carolina hamlet of Mayberry. But as the show went on, Andy became more of a family man and the voice of reason, gently guiding the citizens of Mayberry in often heartwarming tales. Sure there was an amount of humor — mostly provided by the stalwart supporting cast of Don Knotts, Frances Bavier and Howard McNear — but the stories that involved Andy's relationship with his son Opie proved to be the most memorable. The series placed in the top ten in ratings for its entire eight-season run. Originally, Andy Griffith signed on for — and was only interested in — five seasons. As Season Five drew to a close, popular co-star (and multiple Emmy Award winner) Don Knotts, expecting to soon be unemployed, negotiated a five picture deal with Universal Studios. Meanwhile, CBS threw a ton of money at Andy Griffith and he reluctantly committed to three more seasons. As a result, Knotts left the show, the series began filming in garish color and things took a turn. Although, it remained popular, The Andy Griffith Show — beginning with Season Six — morphed into a surrealistic clone of shows like The Beverly Hillbillies and Green Acres. Andy became the sole normal person in a town filled with unrealistic lunatics. Looking like a forerunner to David Lynch's Twin Peaks, Andy became less of a sheriff and more of a stranger in a strange land. The citizens of Mayberry became one-dimensional cartoonish weirdos instead of the outré but friendly folks of the show's early days. Characters like Emmett the pompous fix-it man, Goober the bumpkin grease monkey and stuffy pseudo-intellectual county clerk Howard Sprague became more prominent and the situations became more slapstick. Eventually Andy Griffith had had enough. As the final season came to an end, genial Ken Berry was introduced as a gentleman farmer, all set to become the focus of the town's subsequent adventures in Mayberry RFD. Berry's "Sam Jones" was a level-headed, even-keeled fellow, cast from the same mold as Sheriff Andy Taylor. Except, Ken Berry was no Andy Griffith. He was close, but he lacked Griffith's large, authoritative demeanor. Andy was funny and frequently sarcastic, especially when it came to ribbing his deputy played by Knotts. "Sam Jones" was very laid back and vaguely humorless.

I'll give you two seasons. 

Mayberry RFD premiered on September 23, 1968 with Sheriff Andy Taylor and school teacher Helen Crump getting married. Don Knotts as "Deputy Barney Fife," as well as Andy Griffith Show regulars Ron Howard and Frances Bavier were also on hand as familiar faces to boost series' rating and appeal. As Mayberry RFD found its footing and its audience, Andy and his family moved to Raleigh and were never seen in Mayberry again. Sam, his son Mike and the goofy citizens of Mayberry were on their own to carry the show. Inexplicably, "Aunt Bee" (played by befuddled Frances Bavier) stayed on as Sam's housekeeper, despite being Andy Taylor's aunt.

I watched Mayberry RFD, but I would not classify myself as a "fan." You have to remember, back in the days of "classic television," we only had three networks from which to choose entertainment. We often watched TV shows just because "they were on." If you didn't watch television, you were forced to do something constructive or perhaps even interact with your family. So, folks would slog through poorly written garbage like My Mother the Car rather than help their kids with homework or fix that broken screen door. Not that Mayberry RFD was on par with My Mother the Car, but its production and writing certainly wasn't up to the standards of — say — The Dick Van Dyke Show... or even The Andy Griffith Show. Mayberry RFD just continued the silly sitcom-y writing of late seasons of The Andy Griffith Show that brought the series to a sad demise.

The Three Shumuck-skateers

First of all, no matter how nice a guy Sam Jones was, there was no way — no way in hell! — that he'd be friends with Goober, Howard and Emmett. I understand that Mayberry was a small town and the pickin's were slim, but Goober was an uncouth, loutish moron who wasn't remotely aware of the limits of his limited knowledge. Sure he could change an oil filter, but when it came to participating in a conversation, he'd quickly expose his lack of social relevance by quoting Captain Whammo, his favorite comic book hero. Emmett Clark was no better. As proprietor of the fix-it shop, this conceited idiot would treat every out-of-commission item brought to him in the manner — he'd smack it with a ball-peen hammer. Despite his reputation as a "fix-it" man, Emmett couldn't pour water out of a boot if the instructions were printed on the sole, yet he had the Mayberry market cornered in the fix-it business. Howard Sprague, the self-assured, self-proclaimed intellectual, goes out of his way to phrase the most common expressions in a haughty collective of obscure synonyms for the sole purpose of appearing smart (and being an asshole). When know-it-all Emmett mixed the paint color to the wrong shade while graciously painting Sam's house, Howard explained that the "pigmentation was of the incorrect hue." Oh, fuck you and your pigmentation, Howard.

Hutchins? Swanson?

Sam's love interest is clearly the most attractive woman in Mayberry — Millie Swanson, the cheery counter girl at the bakery, as played by the adorably quirky Arlene Golonka. She is so out of Sam's league, but since she is stuck in Mayberry, she has to make due. Curiously, when Millie was a character in the late seasons of The Andy Griffith Show (and her last name was "Hutchins") she came this close to marrying Howard Sprague. That story line was never acknowledged once Millie and Sam became an item. It should be noted that just prior to the series premiere of Mayberry RFD, Arlene Golonka played a feisty prostitute in the Clint Eastwood Western Hang 'Em High. I don't believe that occupation existed in Mayberry, so Millie was relegated to the closest approximation  — working in a bakery. In several episodes, I swear I caught Goober, Howard and even the married Emmett ogling Millie when she popped in to Sam's county office in her little pink bakery dress.

Jodie's bro

Mike, Sam Jones' typically average sitcom son, was played by Buddy Foster.... and he was no Ron Howard. Buddy, whose unsure raspy vocals gave voice to both the little boy in the iconic "How Many Licks?" Tootsie Roll commercial and the "Count's Son" in the Ringo Starr-narrated, Harry Nilsson-scored animated fable The Point, learned nothing from his Academy Award-winning sister Jodie. His on-camera performances were less than memorable and painfully uninspired. He lacked Ron Howard's charm, comic timing and acting capability. Buddy delivered his lines as though he was just handed the day's shooting script and he just learned how to read.

Know your Alices

In the second season of Mayberry RFD, Aunt Bee was replaced by Sam's ex-Army sergeant cousin "Alice Cooper," played by sitcom staple Alice Ghostley. That's right — Alice Cooper. In 1970, the boundary-pushing shock rocker was still a couple of years away from superstardom. The band (at that time, "Alice Cooper" was the name of the band) had released two albums to mostly negative reviews, but they were slowly gaining attention for their outrageous live performance. However, Mayberry RFD's target demographic was far removed from the burgeoning rock & roll scene. The coincidental character name would only be funny for future viewers of the show's reruns. Alice brought her signature bewildered character to the Jones' household — awkwardly fitting into her new surroundings and, once, even impulsively purchasing an antique harp. (Hilarity ensued.)

Mayberry RFD often resorted to recycling old premises from other TV series, including the Andy Griffith Show. I suppose they hoped that in the pre-VCR, pre-digital recording, pre-streaming services era, no one would notice. But now... oh, I noticed. There's an episode when Mike is coerced by his shitty friends into driving a car. When the underage Mike gives in to peer-pressure and crashes said car, his friends take off posthaste, leaving Mike to take the full brunt of his easy-going dad's wrath. This scenario is straight from the Leave It To Beaver playbook. Another episode puts Millie, eager to break out of the bakery game, in a secretarial position. The ultra-naïve Millie is unaware that her employers are bookies. This is a direct lift of a Season Six installment of the Andy Griffith Show in which Aunt Bee innocently takes a job working for counterfeiters. As the series progressed, more episodes focused on one of the many supporting characters, giving each a full 22 minutes in the spotlight.

Purge

At the end of the 1971 television season, despite wide-reaching popularity and high ratings, CBS president Robert Woods pressured Head of Programming Michael Dunn to cancel all of CBS's so-called "rural" shows. This included The Beverly Hillbillies, Green Acres, Petticoat Junction, Hee Haw and The Red Skelton Show, a variety series with a decidedly older, Midwestern appeal. Dunn personally hated these shows, but was hesitant to cancel them because they still garnered high ratings... and high ratings equaled sponsorship dollars. A frustrated Robert Woods fired Michael Dunn, bringing in Fred Silverman, who had no problem dropping the proverbial ax, thus implementing the notorious "rural purge." (Green Acres star, the venerable Pat Buttram noted: "CBS canceled everything with a tree in it — including Lassie.) Silverman ushered in a new, ground-breaking and influential era of television with shows like The Mary Tyler Moore Show, All in the Family, Cannon, Kojak and The Sonny and Cher Show, a variety show that was way hipper than Red Skelton's folksy revue. Mayberry RFD was also a victim of the rural purge. Its final episode, a confounding tale of Emmett's invention being of interest to an aerospace company, was broadcast in March 1971. 

Not for Buddy

In the aftermath, Ken Berry landed a show more suited to his talents as a song-and-dance man. The Ken Berry Wow Show showcased up-and-coming performers like Teri Garr, Cheryl Ladd and a budding young comedian named Steve Martin. Goober and Emmett (George Lindsey and Paul Hartman) showed up on The New Andy Griffith Show, a short-lived attempt at rekindling the Mayberry spirit. Although Andy was a different character, Goober and Emmett were the same two lunkheads from Mayberry. That show lasted 13 weeks. Lindsey took his "Goober" persona over to the syndicated version of Hee Haw, which in spite of its cancelation by CBS, went on to a successful 23 more seasons. Paul Hartman, however, passed away in 1973. Alice Ghostley, Jack Dodson (who played "Howard Sprague") and Arlene Golonka all enjoyed continued success, showing up in various film and television roles over the next several decades. Buddy Foster....? I suppose his sister invites him over for Thanksgiving dinner. He'll come... as long as she hides her Oscars.

www.joshpincusiscrying.com

just the facts

If you are a reader of this blog (with any sort of regularity, although I still can't figure out why anyone would be), you know all about my affinity for television. Especially old television from my youth, or in some cases, before I was born. I like old sitcoms, dramas, game shows and even commercials — all of which are readily available for viewing on cable TV or any number of streaming services. 

One of my favorite shows was Dragnet, a police procedural drama produced and created by actor Jack Webb. Dragnet began life as a radio drama, based loosely on a small role Webb played in the 1948 film He Walked by Night. Webb played "Lee Whitey," a police forensic scientist. Webb worked closely with a real Los Angeles police forensic scientist and decided that the intricate, detailed day-to-day work would make for an interesting premise of a weekly series. He was right. Dragnet premiered in the summer of 1949 on the NBC radio network. After a short period of adjustment and "growing pains," Dragnet came into its own. Under Webb's direction, actors were instructed to deliver lines in a slow, deadpan manor. Dragnet abandoned the shrill and high-strung presentation of other contemporary police dramas in favor of a slower, more concise demeanor. The show's popularity grew and Dragnet enjoyed a successful nine-season run.

At the same time, Dragnet made an easy transition to the fledgling medium of television. Loyal listeners got their first glimpse of Jack Webb as no-nonsense "Sergeant Joe Friday" on their TV screens in December 1951. Actor Barton Yarborough, who played Friday's partner "Sergeant Ben Romero" died suddenly after filming just two episodes. He was replaced by actor Barney Philips (best remembered for having an eye in the middle of his forehead in a memorable episode of Twilight Zone) for the rest of the first season. Season Two saw a new partner — "Officer Frank Smith" — played by Ben Alexander (after a brief run by actor Herb Ellis). This incarnation of Dragnet ran until the summer of 1959.

In 1967, NBC brought back Dragnet. This is the series with which I am most familiar. It, again, starred Jack Webb as "Sergeant Joe Friday" and the ubiquitous Harry Morgan as his new partner "Officer Bill Gannon." The episodes were shot in color and took full advantage of the budding "hippie" culture so prevalent in the country at the time. Webb and his cohorts represented all things good and pure, as they butt heads with various evil, counter-culture hippie freaks, pushing their society-corrupting "mary jane," "dexies," "reds" and "smack" on 60s innocent youth. Along with the standard robberies, break-ins and kidnapping, Dragnet in the 60s presented a variety of hot-headed teens and dirty hippies hell-bent on "puttin' to The Man," as well as young men and women holding respectable jobs, but "turning on" at home when working hours were through. It also dealt with race relations, while simultaneously being a little racist itself. 

Jack Webb was also a small screen "Orson Welles" of sorts. He regularly employed the same roster of character actors to appear in different roles over the course of the show's four seasons. Versatile veteran actors like Virginia Gregg, Stacy Harris, Peggy Webber, Herb Vigran, Olan Soule and dozens of others would pop up week after week as suspects or witnesses, as though we'd never seen them before. 

Virginia Gregg appeared in 14 episodes playing 14 different characters, from the flamboyant leader of a pyramid scheme to the helpful employee at a candy store (that is obviously supposed to be See's). Jill Banner, everyone's favorite "Spider Baby, " shows up in five episodes playing both sweet and surly. When the script called for a repugnant asshole, actors like Vic Perrin and John Sebastian (and — yes! — Bobby Troup, who went on to star in Webb-produced Emergency! and married Jack Webb's ex-wife Julie London) were only too happy to oblige. 

MeTV, the popular retro cable network, shows two episodes of Dragnet every morning beginning at 5 AM. Coincidentally, that's the exact time I wake up to go to work. While I enjoy a bowl of cereal and a cup of coffee, I half pay attention to the morning's Dragnet offering. Over time, I have seen the entire 1960s version of the  Dragnet series approximately a zillion times. I've seen Heather Menzies get threatened with a hand grenade wielded by an angry Mickey Sholdar. I've seen Tim Donnelly ("Chet" from Emergency!) head up a ring of dog-nappers. I've even spotted Kent McCord and Martin Milner playing their familiar roles of "Officers Reed and Malloy" before Adam-12 was a proper series.

But enough was enough. I ran through the series so many times, I was bored. But, then, I discovered that Buzzr!, another retro cable channel that specializes in game shows from "way back when" shows old episodes of What's My Line? opposite Dragnet in the same time slot. So, instead of watching Friday and Gannon interrogate a smarmy G. D. Spradlin for the billionth time, I watched a pre- M*A*S*H  Alan Alda ask "Is it bigger than a bread box?" I watched comedian Soupy Sales offer up a barrage of corny (but funny) one-liners before getting a "no" on his question from moderator Larry Blyden. And later, I cringed as Blyden made several decidedly racists, yet perfectly acceptable for the time, comments regarding a contestant who imports rickshaws to the United States. "Okay," I thought, "this will make a suitable Dragnet replacement."

The next day, Buzzr! showed Family Feud instead of What's My Line?

I wonder what else is on....?

(By the way, Jack Webb never — never — uttered the line "Just the facts.")

www.joshpincusiscrying.com

look away, look away, look away dixie land

It is certainly no secret how much I love television. I especially love old television shows, the ones I watched as a young and impressionable child. Thanks to the magic of syndication and endless reruns, I have also developed an affinity for television shows that were broadcast before I was born. Truth be told, I have watched reruns of shows that I don't particularly like. Shows that I find annoying, frustrating, unrelatable and downright awful. But, I watch them. I've watched them in countless reruns... over and over and over again.

I find it funny how many shows I have just recently discovered, even though they ended their series run decades ago and most (if not all) of their primary cast is now long dead. There are some shows with which I am familiar, but don't like. Yet, I watch them. I have seen every single episode of I Love Lucy, a show I cannot stand. I have seen every episode of Hazel, a show I dislike more that I dislike I Love Lucy. I have seen every episode of more recent shows, like Welcome Back Kotter, a show I despise more than Hazel and I Love Lucy put together! However, I still enjoy such sappy series as Family Affair and My Three Sons. I am fully aware of just how hokey and unrealistic these show are, but there is still something endearing about them... at least to me. Your mileage may vary.

This morning, I caught myself watching an episode of Dennis the Menace. The last first-run episode of Dennis the Menace was broadcast on July 7, 1963 — a month before I turned two. I'm sure that I never saw a single episode of Dennis the Menace in its initial four-season run. I'm almost certain that my parents never watched it. Although it was the lead-in to the ridiculously-popular Ed Sullivan Show, I'm positive that my father's limited patience wouldn't have lasted two seconds subjected to Dennis's irritating antics. Besides, Dennis the Menace was on opposite The Jetsons. My brother, who was six at the time, probably preferred the outer space cartoon adventures to some pain-in-the-ass kid making life miserable for his neighbor. I, of course, only remember watching Dennis the Menace in reruns on a local UHF channel when I was home sick from school. Over the course of many many reruns, I have managed to see every insufferable episode of the series and will still watch it from time to time... including this morning. Honestly, I was not giving the show my full attention. I was perusing the situation on Facebook, a distraction that surely did not exist in Dennis the Menace's original run.

The Programming Department at Antenna TV chose the twenty-fourth episode of Dennis the Menace's second season to broadcast this morning. The episode — entitled "Dennis and the Fishing Rod" — centered around a tried and true sitcom trope. Dennis wants to buy his dad a fishing rod, but he doesn't have enough money. This scenario has popped up on dozens of other series, from Father Knows Best to Leave It to Beaver to any number of "family based" shows. As I scrolled between Facebook and Instagram on my phone, a line of dialogue caught my attention. It seems while Dennis was looking for additional funds to supplement the pittance fished from his piggy bank, he found a stack of papers belonging to his visiting grandmother. Among the papers were several ornately decorated pieces of paper that Dennis and his limited intellect were unable to identify. He presented the papers to his father and grandmother who then explained that they were money from the Civil War. They belonged to Dennis's great grandfather Jedidiah Mitchell who served under a general in the Civil War. General Robert E. Lee, to be specific. She went on to proudly proclaim that ol' Jedidiah was a personal friend of General Lee and he was a true hero. Dennis's dad chimes in to echo his mother's assertion. "He sure was!," says Dad, a broad smile drawn across his bespectacled hatchet face.

What??? Dennis's great grandfather fought on the Southern side of the Civil War? Dennis's great grandfather was a goddamn antiabolitionist! Dennis's great grandfather fought to uphold the right to own slaves. And Dennis's dear old dad is singing his praises as a "hero!" Boy oh boy! If I didn't hate Dennis the Menace before, I sure do hate him now! 

As the episode progressed, Dennis asked to wear Jedidiah Mitchell's hat and uniform, despite it being way too big. Grandmother Mitchell said "of course you can!" adding that Jedidiah would be proud. So Dennis sported that Confederate hat and uniform as when he went to show off to his beleaguered neighbor Mr. Wilson. Mr. Wilson, an avid history buff and collector of coins, stamps and things of that nature, didn't bat an eye when his young neighbor bounded into his house decked out in full Confederate military dress. He was, however, very interested in the Confederate money Dennis brought over. While examining the bill, Mr. Wilson was given the "okay" sign by the engraved image of Confederate president Jefferson Davis. The episode went from an innocent pursuit of a fishing rod for dad to a full-on misrepresentation of what the Civil War stood for, who was a hero and the continued "white-washing" of American history. I don't even remember if the fishing rod was ever purchased.

This episode, as well as many others in the series, was co-written by Hank Ketcham, the creator of the Dennis the Menace comic strip. Maybe he should have stuck to single panel gags in the funny pages of the daily newspaper.

I knew there was an underlying reason I hated watching Dennis the Menace. Now I know.

RIP Jay North (1951-2025)

www.joshpincusiscrying.com

I hate everything about you

Spoiler Alert: Reality shows aren't real. They are scripted. The "real, average people" that appear in these shows are coached on how to behave. They are instructed on how to deliver their lines. The scenarios are set up. Sorry to be the one to break it to you.

On the bright side, the folk that appear on these shows are real people, not actors. It's only after a while they become "celebrities" because, as Andy Warhol once observed, "everyone will be famous for fifteen minutes." For some of these shows that have run for multiple seasons, that fifteen minutes has really lasted waaaay more than fifteen minutes.

I used to watch a show on The History Channel called Pawn Stars. The show, which began in 2009, presented the day-to-day activity in a 24-hour pawn shop just off the Las Vegas strip. All sorts of interesting characters would bring in all sorts of interesting items for the examination and possible sale to the three generations of the Harrison family who operated the store. Folks would present vintage items, stuff they pulled out of grandma's attic, things they've had lying around their home for years, in hopes of  cashing it in for some quick cash. The Harrisons — patriarch Richard, his son Rick and Rick's son Corey — would give a little history of each item then, if they were interested, make an offer to the owner. And that was it. That was the whole premise of the show. As long-time collectors of "things," my wife and I loved to watch and see the items that were brought in for inspection and potential payoff. For many years, Mrs. P ran her family's business in a local farmers market. As the years went on, the business morphed into a destination for collectors of the unusual. Mrs. P hunted and scoured the area (and beyond) to find items on which she could turn a quick profit.. As time went on, her ability to pick out such items became sharp and uncanny. As we watched episodes of Pawn Stars, we would often see items that Mrs. P — at one time or another — had sold herself.

When Pawn Stars' popularity grew, the tone of the show changed. The items for sale were no longer the focus. The show turned into a sitcom about the Harrison family, along with goofy employee Chumlee in the role of the "nosy neighbor." Episodes followed a conflict among the four principle "characters," with only one or two items presented for perusal. The Harrisons became celebrities and suddenly Pawn Stars was a different show. One day, Mrs. P received an email from a television production company inquiring about an item she had listed among her eBay auctions. The item in question was a child's rocking horse painted to look like "Pokey the Pony" from the 60s claymation series Gumby. This item was used as a display piece in a store called Heaven that featured pop culture items. When the store went bankrupt, Mrs. P acquired the Pokey rocking horse in a chainwide liquidation sale. The email explained that agents check all sorts of sources for interesting items to feature on Pawn Stars, as well as its new series American Pickers. This particular agent offered to fly Mrs. P and the Pokey rocking horse to Las Vegas for a possible appearance on Pawn Stars. There was no guarantee it would appear on the show, but a segment would be filmed and scripted and, if it made the final cut, well....great! While it was an interesting proposal, it was logistically prohibitive. Reluctantly, Mrs. P turned the offer down, although she was very flattered. From that point forward, we realized that Pawn Stars was not what it appeared to be. We also tapered off our viewing of the show, until we completely stopped.

Recently, Mrs. Pincus has been watching a show called Storage Wars. The premise is pretty simple. People rent storage lockers and stuff them with all sorts of things. Then, they default on rental payments until, eventually, the delinquent lockers are turned over to an auctioneer to sell off the contents. A group of regulars assemble and the locker goes to the highest bidder. We, as viewers, watch as the high bidder rifles through the purchased locker to reveal hidden treasures.

But then that premise changed.

After a time, the show (that we now know is preconceived and scripted, as well as having outside items planted in lockers) became a showcase for the regular bidders. Characters were created by way of creative editing and prewritten lines given to these folks to recite in the most amateurish of acting. The auction attendees are the proprietors of local businesses that hope to turn a quick profit, much in the style of Mrs. P in her family's business. However, the group of bidders presented in each episode are some of the dumbest, inarticulate, arrogant, scheming, scummy folks I've ever seen. Most of them have no head for business, although they perceive themselves as savvy, worldly entrepreneurs and experts on everything.  With few exceptions, they are not knowledgeable about.... well.... anything... let alone collectibles or objects of potential value. They cannot identify specific jewelry or furniture or if something is actually gold or silver. They think everything is going to net them a fortune. If they cannot identify a particularly obscure item, they consult an expert... then interrupt while the expert is offering the explanation they came for. On top of all that, they insult their fellow bidders and purposely drive up bids on things they themselves have no interest in.... just to be spiteful.

Scripting and editing of Storage Wars has created villains and buffoons and conspirators within the bidding regulars. The auctioneer and his wife have even become characters in this thoroughly annoying venture.

I have watched episodes of Storage Wars — now in its 16th season — because Mrs. P has it on. I try to pay attention when an interesting item is uncovered under a pile of blankets or misshapen cardboard boxes. But, unlike Pawn Stars, where the Harrison family was often good for a laugh or a little bit of relevant information, the crew on Storage Wars are an unlikeable, irritating bunch — and they're idiots. 

Every one of them.

www.joshpincusiscrying.com

sleeping with the television on

Ever since I was a little kid, I have had a wonderful relationship with television. I guess that's why I write about it so much. I love television. I love watching television. I love talking about television. I love reading about television. My parents weren't the type of parents who referred to television as "the boob tube." They never accused television of poisoning my young and impressionable mind. They never restricted my television watching. Hell, they watched nearly as much television as I did. 

I had some friends growing up whose parents insisted that a certain amount of educational programming be watched to counteract the mindless crap that dementated the children's viewing choice. I remember skipping right over the public television affiliate on my way to the channels that showed cartoons or game shows or silly sitcom. In junior high, I discovered Monty Python's Flying Circus which was the only time my family's television ever stopped on PBS for more that just a few seconds. Yes sir, my television watching consisted of some of the dumbest, lamest, mindless selections ever to delight a child's short attention span.

I was lucky enough to marry someone who shares my love of television. We both watched a lot of the same shows when we were younger. Of course, there were shows that she watched and shows that I watched. Mrs. Pincus watched Here Come The Brides featuring dreamy Bobby Sherman and Emergency! featuring dreamy Randolph Mantooth. I watched Lancelot Link: Secret Chimp on Saturday mornings, a spy spoof with an all-monkey cast. Ten-year old Mrs. P would never — never! — waste her precious time watching even a minute of monkeys in trench coats. Nevertheless, we both loved shows like The Brady Bunch, Room 222 and That Girl. Years of watching The Love Boat gave us a skewed view of what taking a cruise would be like, something we wouldn't experience until years later. Mrs. P gained a vast knowledge of medical lingo from watching Medical Center and Marcus Welby (and of course, Chad Everett's and James Brolin's good looks didn't hurt). I, on the other hand, acquired no viable life skills from Yogi Bear. Well, maybe stealing pic-a-nic baskets.

I vaguely recall some of the shows my parents watched. My dad loved the gritty, street-smart adventures of  Kojak. My mom leaned towards the more sophisticated tales presented on Columbo. Both of my parents — my liberal, free-thinking mom and my narrow-minded bigoted dad — watched and enjoyed All in the Family. My mom got the joke and my dad thought he was watching a documentary.

I'm not sure when exactly it started, but, I will walk into a room in my house and  — if there's a television in it — I turn the television on before I turn a light on. As a matter of fact, I cannot go to sleep unless the television is on. That's right. When Mrs. P and I decide to call it a night (which, by the way, gets earlier and earlier as the years go on), we fluff up the pillows, pull up the blankets and turn on the television. Not necessarily in that order. Actually, the television goes on first. Then the pillow and blanket prep. Then, the light goes out and our bedroom is bathed in the warm, comforting glow of my old pal television. I slowly (or quickly) slip into dreamland, lulled there by the calming tones of James Arness wielding his frontier justice on a 60-year old episode of Gunsmoke followed by Dale Robertson keeping things on the up-and-up on an even older installment of Tales of Wells Fargo (later knows as Tales of Xfinity Mobile ....that's a joke that only Philadelphians will get). While I am approaching the REM portion of my nighttime slumber, light-sleeper Mrs. Pincus switches channels to Storage Wars or something more recent, before switching back to an old Western. She just likes to know her options. Changing channels doesn't bother me. The TV going off — that's a problem!

Even though I am asleep, I know when the television goes off. Although my eyes are closed and I am deep into the third or fourth stage of shut-eye, I can sense when the room is immersed in total blackness... and that awakens me immediately. I don't know why. I don't know how. It just does.

The good folks at Xfinity, our cable provider (where — apparently — the WIFI is booming), regularly — and remotely — resets our cable box. Two or three times a week, at around two or three o'clock in the morning, Xfinity flashes a warning on our television screen informing my sound-asleep wife and me that our cable box needs a little routine maintenance. Then... BOOM... the TV goes off for a good long time. I don't know how long, but it's long. Long enough to wake me up. Through my thin eyelids, I suddenly realize that the TV is off. I shoot up in bed and fumble for my glasses so I can get a clear view of  this my TV screen...

It stays there for a while. Mocking me, keeping me awake, Withholding my nighttime viewing (or listening) schedule and holding me hostage. Those three little dots flicker. And flicker. And flicker. Well, now I'm really awake. I check my phone lying by my bedside for the time. I check it again. I try to go back to sleep. I close my eyes, but I know that the room is still dark. I know that glow is just the screen with the flickering dots. I open my eyes and turn my head only to see those dots. My frustration increases.

Then, suddenly, my TV screen is ablaze with horses and cowboys and a black & white episode of Laramie. 

Finally, I can get some sleep.

www.joshpincusiscrying.com

i'm just ken

I watch Jeopardy! every night. Sometimes I watch it live. Sometimes I watch it as a DVR recording, as I have it set to record Jeopardy! every night. I enjoy Jeopardy! At one time — many years ago — was able to come up with a lot of the answers to the questions posed on the show. More recently, not so much. It seems that the contestants are younger and the subject matter is skewed more towards the knowledge of a twenty-something year-old than that of a sixty-something year-old. The television-related categories feature questions about shows I never seen, sometimes about shows I've never heard of. The same applies to music categories. Every so often, a question about a movie from the 1930s (that isn't The Wizard of Oz) receives blank stares from the youthful contestants and the air is unspoiled by the sound of a buzzer. Music questions about the "classic rock" era or even "disco" are given the same dumbfounded look of confusion as though the question was posed in a foreign language. But, I still enjoy watching Jeopardy! to expand my trivia prowess and to learn something new without consulting Google.

I don't care for the contestant interviews. I'm not interested in what research scientist Caitlyn from Lincoln, Nebraska did on her senior class trip or the funny story of how Jared, a software consultant from Sante Fe, New Mexico, met his wife. I watch Jeopardy! for the questions and answers. I don't care for the quirky little tics and foibles of contestants. I dislike when contestants inject a little "clever patter" or offer commentary about a previous question. I don't mind multi-day champions or tight rivalries between contestants, as long as they keep it under control and not attempt to make it "their show." 

Back is the 1960s, when Jeopardy! first premiered, Art Fleming, a typically-pleasant game-show host, served as the Master of Ceremonies. Fleming hosted every incarnation of the show until 1979 when the revived All New Jeopardy! ended its run. Fleming rarely, if ever, commented on the questions. When a particular question baffled all three constantans, Fleming never gave the correct answer in anything other than an even-keel tone of voice. He was never sarcastic or condescending. He read the questions, said "correct" or "incorrect," and reported on the final scores.

In 1984, Jeopardy! returned to the airwaves with a syndicated version hosted by veteran game show host Alex Trebek. Trebek, in an interview once the show grew in popularity, made it clear that he wished to be introduced as "the host of Jeopardy!," not "the star of Jeopardy!." He wanted to it be made clear that the show was the star, not him. Trebek hosted Jeopardy! for 37 seasons, until his death in 2020 at the age of 80. While Trebek kept his promise of just being "the host" in check for most of his tenure, he did get increasingly smarmy and condescending in later seasons. A palpable scoff could be detected in his voice when he finally revealed an answer that stumped all three contestants. He'd muster the tone of a disappointed middle school teacher when a contestant gave an incorrect answer to a question. By his final season, Trebek was making commentary about questions and injecting personal anecdotes after answers were given. If a category included words or phrases referencing a foreign country, Trebek would read it in his best pronunciation, often coming off as mocking the particular accent. During the contestant interviews, he would often counter a contestant's little story with one of his own in a subtle game of "one-upmanship." But, I still watched Jeopardy!.

In June 2004, contestant Ken Jennings kicked of a run of 74 consecutive wins on Jeopardy!, thus cementing his place in pop-culture and game-show history. Little did we know back then that his brief time in the spotlight would lead to a bigger role the realm of Jeopardy!. After Alex Trebek's passing, Ken Jennings was the first in a series of on-air auditions to find a new host for the game. Former show producer Mike Richards (not the guy from Seinfeld) was announced as the new host, only to relinquish the role after some unsavory office behavior came to light. Ken Jennings was named as new show host, along with actress Mayim Bialik. The two would share hosting duties until Bialik (not a fan favorite) was relieved of her duties after siding with writers in a labor dispute. (She is a union member and she was supporting her fellow union members.) Non-actor Jennings assumed sole hosting duties from that point forward. Jennings proved to be a serviceable host. He smiled. He read the questions. He listened quietly as contestants revealed their favorite foods or told of a childhood pet or gushed about meeting an ex-vice president. 

Until he didn't.

Ken Jennings was named the sole host of Jeopardy! starting with the show's 40th season. As his time went on, he began to become very comfortable in his role. He also began to slip into areas that he previously avoided. After ruling on wrong answers, he started to announce the correct answers with a noticeable tone of superiority in his voice. He would sometimes offer a cocked smile and an accompanying shake of the head as he corrected a wrong answer. He began to quickly cut off a contestant when ruling a response as "incorrect." When a question would stump all contestants, he would give the right answer like your mom would, expressing impatience while going over your "eight times tables" for the twelfth time. At times, he has adopted Alex Trebek's penchant for reading clues with an over-pronounced, over-dramatic accent when applicable. While I once thought Jennings had promise, I now find that he grows more and more insufferable with each new game.

I still like Jeopardy! I will continue to record and watch Jeopardy! I will not let the host or quirky (read: weird) contestants distract me from answering questions from my sofa and learning something new while I eat dinner.

It's about the game. The questions. The answers. It's a half-hour of diversion. I just don't need those other diversions.

www.joshpincusiscrying.com

moon over parma

I love television. I love watching television. I love reading about television. I love talking about television. and, if you are a regular reader of this blog, you know I love writing about television.

I grew up in the 1960s and 70s watching television. Those were some interesting years. The airwaves were filled with Westerns and police shows and anthology series and situation comedies. A lot of the current crop of independent "retro" TV channels have rerun some of the more popular programs from "back in the day." Of course, Nick at Nite revolutionized the "kitschy rerun format" that so many other networks have copied. I was a big fan of Nick At Nite in its early days. I relished the simplicity of The Donna Reed Show, the stupidity of Mr. Ed and the "shoot the bad guy and learn a lesson" repetitiveness of The Rifleman. Nevertheless, there I was, front and center, happily consuming everything Nick At Nite had to offer.

Ten years after its cable television debut, Nick at Nite teased at having Welcome Back Kotter join its evening line-up in the spring of 1995. I was very excited by this news. I remember being a big fan of the Gabe Kaplan-led sitcom in its initial run in 1975 (when I was 14). I distinctly remember being in hysterics from the outlandish behavior of the "Sweathogs" — a group of unknown young actors whose antics were the centerpiece of each episode. Welcome Back Kotter enjoyed phenomenal ratings in its first two seasons and it made stars out of its cast — specifically John Travolta. During its run, Travolta launched his successful film career, garnering an Oscar nomination for his turn as a Brooklyn disco enthusiast in Saturday Night Fever. Mrs. Pincus and I anxiously looked forward to the return of Welcome Back Kotter and to reliving fond memories of our youth.

On Monday, May 29, 1995, we excitedly tuned in... and OH MY GOD!

Just after the conclusion of the familiar theme song (a Number 1 record for former Lovin' Spoonful front man John Sebastian), the veritable shit hit the fan. The show was nothing like we remembered. It was awful. It was painful. The writing was terrible! The acting was amateurish. The premise was stupid. The jokes were not funny. Mrs. P and I shot each other helpless looks. "Could this be the same show we loved?" we collectively thought. "What were we thinking?" Sympathetically, we watched another episode or two during Nick at Nite's "Big Premiere." Finally, we changed the channel to something — anything! — else.

At the end of the summer of 1995, standup comic Drew Carey premiered his self-titled sitcom on ABC. The show featured Drew and his pals hanging out in a Cleveland bar, dealing with all life has dealt them in their working class life. Drew's character worked at large department store and the daily situations lent themselves to Drew's often funny, often off-the-wall humor. The show lasted nine seasons and was pretty popular, even through cast changes. Drew and his co-stars were consistently funny and, from what I recall, remained funny through its finale — despite lagging ratings. Curiously, after its first run, syndication of the show was sparse. A few local stations briefly showed episodes and several "retro networks" sporadically put the series in its lineup. Star Drew Carey was named the new host of stalwart game show The Price is Right. Drew's costar's found gigs in other series, films and on comedy club stages. I like watching Drew Carey on The Price is Right. He appears to be having a better time that the contestants and often delivers self-deprecating jabs to the bewilderment of the studio audience.

While scanning the wide assortment of entertainment that I pay Comcast to pump into my house, I came upon a listing on Antenna TV. The Drew Carey Show was added to their Sunday evening lineup. My interest was piqued. Should I watch? Will I be disappointed? After all, I hadn't seen an episode of The Drew Carey Show for years. These thoughts ran through my head as I toyed with the remote control. As the 8 o'clock start time approached, I clicked over to Antenna TV... almost expecting to be disappointed ala Welcome Back Kotter.

So, Mrs. Pincus and I watched through very, very discerning eyes.

It was surprisingly funny! It held up, aside from a couple of dated references to John F. Kennedy, Jr, the jokes made us laugh and the situations were genuinely ...well ... funny! The cast was funny. The writing was funny. The show was funny. When the four back-to-back episodes were over, we changed the channel at the opening notes of the theme to the absolutely dated sitcom Family Ties.

There are some shows from my youth that I can watch and there are some I cannot — all for different reasons. I'm glad I found out that The Drew Carey Show is one I can still watch.

www.joshpincusiscrying.com

revolution 9

I have become pretty active on Instagram. I've been active on social media for some time now, but recently Instagram has taken a big leap over my previously favored platform, the now-vile, politically-charged garbage heap known as Twitter. Sure, I spend waaaay too much time on Facebook (Hey! Who doesn't?), but Instagram has become more... oh, I don't know.... sociable?!?! I find it easier to post  and it's more receptive to creativity, specifically with its stickers and text and music accompaniments. I have been enjoying the enhancements that Instagram allows as far as posting my daily celebrity death anniversaries. And because I fancy myself as an artist (I know, some of you might debate that claim...), I'm always looking for new outlets for creativity. Plus, Instagram is the perfect forum to display my admittedly skewed sense of humor and my love of old television shows. So it's a win-win-win!

A few years ago, Instagram started this end-of-year thing where it allows — or even encourages — the posting of a nine-image collage consisting of one's nine most favored or "favorited" posts from the previous year. With the assistance of several third-party apps, a collage is created — available for downloading, posting and eager for comments. Other internet services have jumped on the "year in review" opportunity, with folks posting their annual granular breakdown of listening habits via Spotify, Pandora and other music-streaming platforms of which I don't use. (Yep, I still listen to the radio.) Instagram's "Best Nine" apps were clunky at first, but have since been reworked and a suitable-for-posting compilation is ready in just a few minutes.

I did mine for 2022 a few days ago and I am posting it here before I post it to Instagram. (Oooh!  JPiC exclusive content! And you don't even have to be a Patreon member!) In past years, I got just a random mish-mash sampling of disjointed and unrelated posts from the previous year. This year, however, I was intrigued by how spot-on my selections were. Of course, there are drawings. I suppose the majority of my Instagram posts are drawings. After all, I like to draw. But the five chosen drawings featured three dead celebrities and quotes from two that are still with us. If you have been following me for any length of time, you know about my affinity for dead celebrities and propensity to immortalize them in my little corner of the internet. Also two drawings are in black & white, two are in color and one is in limited color — a very accurate overview of how I work. 

In addition to the drawings, there are photographs. I post a lot of photographs on my Instagram account. A good portion of my photographs are freeze-frame screenshots if my television. I watch an inordinate amount of television and I see a lot of cool, interesting and unusual stuff (well... to me anyway) and I feel compelled to share them. In this year's "top nine," there are two pictures from television. One is from an old TV show and one is not. The former is a scene from a 1962 episode of The Andy Griffith Show. The scene features a young Barbara Eden, three years before her iconic role as the mischievous bottle-dweller on the sitcom I Dream of Jeannie. I love to spot actors and actresses in unlikely appearances outside of a role for which they became famous. And I love to share them with the people who, like me, are fascinated by this sort of thing... all six of you. The other television photo is from a news report on CNN. I don't remember what the story was about, but I was startled by the fact that the reporter bore an uncanny resemblance to They Might Be Giants guitarist John Flansburgh. And that needed to be shared, too.

The two remaining pictures rounding out my "top nine" are a picture of our dining room table laden with a tempting array of home-baked goodies prepared by my wife, the celebrated Mrs. P. This picture, taken just prior to the onslaught of guests coming to our annual Night Before Thanksgiving Dessert Party, shows the results of a single day of baking (that's right! a single day!) and how Mrs. P makes it look so easy. (Spoiler Alert: It is not easy.) This photo is similar to other photos taken of past year's gatherings, however this one was snapped before our 38th one. These have been going on every year — uninterrupted, even by a pandemic! — for well over a quarter of a century.

The last picture is my favorite. It was taken at this past summer's XPoNetial Music Festival (presented by Subaru), a yearly outdoor music festival held over three days on the Camden waterfront — one of the few beautiful things about Camden, New Jersey. The picture shows me (uncharacteristically wearing a hat) with my two favorite people in the entire world — my wife and my son. And there's no one with whom I would rather spend three days out in the sun, listening to music and surrounded by thousands of people than these two.

I don't know why I was so taken by this little visual glimpse into the world of Josh Pincus. I just was. And, to be honest, it's hard to write a new blog post every week.

www.joshpincusiscrying.com

overture! curtain! lights!

Remember that song? If you're around my age, you probably still know all the words. I know I do. When I heard those magical opening lines, I knew the Bugs Bunny show was starting. And, boy, did I love Bugs Bunny.

Yeah, you probably have heard me gush and profess my love and admiration for all things Disney. But, my infatuation with The Walt Disney Company and its all of its offshoots didn't come into being until I was nearly out of my teens. When I was a kid, I loved to watch Bugs Bunny and his animated pals. Even though the cartoons I was watching were from my parents' era, they were timeless... except, of course, when they made topical references to World War II. But, Bugs Bunny was clever and sassy. He was a schemer and a loveable jerk. He was sort-of the "anti-Mickey Mouse"... and that aspect of his rascally (or "wascally" as Elmer Fudd would put it) personality was purposely exploited in his cameo appearance alongside Mickey Mouse in 1988's Who Framed Roger Rabbit? 

The Bugs Bunny Show (with its catchy theme song) premiered in primetime in October 1960. The show served as an anthology of theatrical Looney Tunes shorts, originally produced in the 1940s. Under the supervision of veteran animators Chuck Jones and Friz Freleng, the cartoons were trimmed for time and fitted with new title cards better suited for television. A brand-new introduction was created featuring Bugs Bunny and his long-time adversary Daffy Duck along with that memorable theme composed by the prolific team of Mack David and Jerry Livingston. (Gosh! Even Jerry Seinfeld knows it!) The Bugs Bunny Show ran on Tuesday evenings for three years until it was moved to its familiar spot on Saturday mornings where it stayed (in one form or another on one network or another) for four decades. 

It was in the middle 1960s that I became an avid viewer. Plopped in front of the Pincus family black & white TV set, with a big bowl of sugar frosted somethings on my pajama-clad lap, I was hypnotized by the animated antics of Bugs Bunny, Daffy Duck, Yosemite Sam, Porky Pig, Foghorn Leghorn, Sylvester & Tweety, Road Runner and Wile E. Coyote and even the one-joke premise of Pepe LePew. And when the opening fanfare of that infectious theme song started and Bugs and Daffy (in their vaudeville finest) took the stage, I was right there... singing along.

.... but, about that opening sequence.

If you recall, Bugs Bunny and Daffy Duck kicked off each episode in yellow jackets, red bow ties, straw hats and canes (curiously, no pants). After the first verse of the song, a parade of familiar and beloved Warner Brothers characters would enter silently from the wings and march across the stage. 

There was Tweety and Speedy Gonzales and... wait..... just wait a second.... who the fuck is that kangaroo?

Yes, even as a child, this didn't sit right with me. There was Yosemite Sam and Sylvester the Cat and Elmer Fudd — all getting the ass-end of this buttinsky marsupial. How on earth did this Outback refugee get third placement? He even has the nerve to take the stage before Wile E. Coyote and Foghorn Leghorn make it into the shot! (Foghorn Leghorn, is last... I say, I say last!!) This was an outrage! Where was Porky Pig or the Tasmanian Devil or Road Runner or even Granny? What was this nondescript kangaroo doing rubbing elbows with these...these... stars! I never saw this kangaroo in any cartoon. I had no idea who he is or what he does. And I was especially irked that he was being treated like cartoon royalty among this actual cartoon royalty.

This has bugged the shit out of me for fifty years. Half a fucking century!

Retro TV network Me-TV has started showing cartoons on weekday mornings and I watch a good portion of the program before I leave for work. Bookended with corny schtick by the host and a puppet, an assortment of Warner Brothers cartoons are presented along with a smattering of background trivia. I don't pay very close attention to the show, as I have seen these cartoons countless times in my life. However, every so often, they slip one curiosity in that makes me take notice. Once they showed Horton Hatches the Egg, a 1942 cartoon that was the very first animated adaptation of a Dr. Seuss book. Around Christmastime, they showed a particularly gruesome take on The Little Match Girl from Columbia Studios in 1937. But, just recently, I saw a cartoon entitled Hop, Look and Listen from 1948. It was a vehicle for Sylvester the cat and featured one Hippety Hopper, a kangaroo that escaped from the zoo. My kangaroo. I sat up and paid close attention. It was the usual fare of "mistaken identity." Sylvester thinks the kangaroo is an overgrown mouse and attempts to catch and eventually eat it. Of course, if cartoons have taught us anything, we understand that all kangaroos are expert boxers and poor Sylvester has the shit kicked out of him several times over the course of seven minutes. But now, I had a starting point — a name.

A quick "google" search resulted in enough information to satisfy me. Hippety Hopper appeared in 14 Warner Brothers shorts between his debut in 1948 until 1964, when Warner Brothers gave up trying to endear him to its audience. Also, as fate would have it, Warner Brothers pulled the plug on its animation studio in 1964 with the decline in demand for theatrical cartoons. The plot of Hippety Hopper cartoons did not vary from the "escaped from a zoo/circus/pet shop and is mistaken for a giant mouse" premise. I guess Pepe LePew pulled the "one trick pony" act off better.

Still, I cannot understand how this minor, almost forgotten character from the annals of Warner Brothers' storied history, pushed himself between the "Fastest Mouse in all of Mexico" and the "Rootin'est Tootin'est Orneriest Cowpoke this side of the Pecos" on a show that ran for four decades and no one seemed to notice or care.

Just me.

www.joshpincusiscrying.com