tonight I'm gonna have myself a real good time

This post is purely self-indulgent. It is 100 percent for my enjoyment. You may like it. You may not, but I'm telling you right now. It's just for me. So, if you want to skip this week's entry on It's Been A Slice, that's okay. Next week, I'll write about some old television show or a movie or some bit of day-to-day tedium that pissed me off. But this week, it's just a little "me" time.

One evening in the late fall of 1974, thirteen year-old Josh Pincus was up in his bedroom in his home in northeast Philadelphia. I had my radio tuned to WFIL, the radio station in Philadelphia for all the top pop hits of the day. Everyone listened to the "boss jocks" on WFIL and I was no different. I was probably avoiding getting my homework done when I heard a very very unusual sound coming from the radio. Among the glut of Olivia Newton-John and Mac Davis and America and Tony Orlando and Dawn, the song I was hearing sounded like aliens. I was stunned. I was motionless. I was mesmerized for a full three minutes. When it was over, the DJ announced to me and the entire Delaware Valley that we had just heard a new song called "Killer Queen" by a British band called Queen. I was an instant fan.

The following year, I became a concert goer. Going to concerts at 14 years-old was no easy task. I wasn't old enough to drive and I wasn't familiar enough with the intricate and often unreliable public transportation system in Philadelphia. Fearing that the wrong bus or subway train would deposit me in a different country where I'd never see my family again, I was not above securing (read: begging) my mother to provide door-to-door car service to one of the two (maybe three) major concert venues in the city. My mom was only too happy to drive my friends and I. My father... well, I never asked my father. If we weren't going to see Al Jolson, my father was not driving. Besides, he had to get up early the next morning for work... even if it was his day off.

In the winter of 1977, Queen released A Day at the Races, the follow-up to their international hit album A Night at the Opera. Somehow, some way, I had missed Queen when they brought their A Night at the Opera tour to the Tower Theater for three nights in 1976. But I was not going to let that happen again. Queen had become my favorite band and I was determined to see them live. Based on their new-found popularity, the natural venue, after playing the 3000-seat Tower Theater, was the self-proclaimed "America's Showplace" — The Spectrum. The Spectrum, an 18,000-seat multi-purpose facility, was the home to the Philadelphia 76ers and Flyers. It also hosted a wide variety of musical acts — all presented with the worst acoustics one would expect from a place more suited for hockey games. But — no! — Queen was relegated to the Philadelphia Civic Center, another multi-use venue. (The Beatles played there in 1964.) Alas, The Spectrum was hosting Electric Light Orchestra on February 11, 1977, so Queen drew the short straw. Nevertheless, I purchased a ticket for $7.50.

The night of the show, my mom graciously drove a friend and me to West Philadelphia. We made firm arrangements where to meet my mom at the show's conclusion. My friend and I nervously maneuvered our way through the general admission crowd. We decided that a viewing point on the second level would be optimum. I really didn't want to fight the crowds stage side. So we spotted and laid claim to two empty seats in the balcony and waited for the lights to dim.

Irish rockers Thin Lizzy kicked things off. They buzzed through a quick thirty minute set highlighted by "The Boys are Back in Town," their current big radio hit. After a brief intermission, Queen burst on to the stage to the shrieking guitar strains of "Tie Your Mother Down," the lead track on their A Day at the Races album. From there, they tore through 22 more songs, each one more exciting than the last. Their four-song encore included "Hey Big Spender" from the Broadway musical Sweet Charity and a "queen-sized" take on Elvis Presley's "Jailhouse Rock." Freddie Mercury stalked and swirled and pirouetted his way right into my teenage heart. I thought my head was going to explode... and that would have left my friend without a ride home. 

Despite touring in support of A Day at the Races well into the summer of 1977, Queen released News of the World, their sixth studio album in October of the same year. Where did they find the time? The album boasted a rare double-A sided single in "We Will Rock You/We Are The Champions" which was already charting ahead of the album's official release. Two Queen shows were announced at the Spectrum for late November 1977. I bought tickets to the first night. At the time, it was unheard of in my social circles to go see a band on more than one night of a multi-night stop in your city. Except if you were a Deadhead... and I surmised that Deadheads only went to more than one show in a tour because they were so stoned that they had forgotten where they were the previous night. Besides, the night of Queen's second show was Thanksgiving, and there was no way my mom would have allowed me to go to a concert instead of spending the evening wrestling a turkey drumstick away from my Aunt Claire. 

I got a ride to the concert with my brother, who also had tickets. His seats were in the front row to the right of the stage, but the view was obstructed by a giant speaker. My seats were in the fourth row but dead center. Queen hit the stage with a fast, hard version of "We Will Rock You" and immediately segued into the epic "Brighton Rock" from Sheer Heart Attack. They packed a whopping 31 songs into their evening's set. The night ended when Freddie Mercury disappeared backstage and reemerged with an armful of  pink carnations. One by one, he nonchalantly tossed them out to the crowd... and I caught one. (I took it home and - almost fifty years later - I still have it.) My brother watched a speaker and the top of Brian May's head.

Almost a year to the day, Queen returned to the Philadelphia Spectrum in support of their album Jazz. This release, again, was supplemented by another double-A sided single "Bicycle Race/Fat Bottomed Girls." I honestly remember very little about this show. I was sitting seventeen rows from the stage, which, in the scheme of the Spectrum, might as well have been in the parking lot. In between the time I bought my ticket and the day of the show, I contracted a bad case of pneumonia. It was bad enough to keep me out of school for a few days... but not nearly bad enough to stop me from seeing Freddie and company live in concert. At one point during the show, I thought it would be a good idea to stand up on my chair like everyone else in my section. It turned out not to be a wise decision at all. As soon as I stood up, I lost my balance and fell backwards. Luckily, my friend who I was attending the concert with, grabbed me and kept me from hitting the floor. I suppose the show was really good. I read about it in the newspaper the next day.

After a two-year hiatus, Queen returned to Philadelphia for The Game tour. For some reason, I don't remember who I went to this concert with. I don't remember how I got there. By 1980, I had a driver's license. I may have borrowed my mom's car. I really don't remember. I have seen a set list and read about the show. I remember seeing Freddie Mercury come out on stage perched upon the shoulders of Darth Vader. I remember him referring to my beloved city as "Filthydelphia." I even remember being confused by their choice of opening song - "Jailhouse Rock." I remember being surprised by the inclusion of an opening act, something they had dispensed with for the previous two tours. I just don't remember being there. 

In 1982, I met the future Mrs. Pincus. She walked into the restaurant where I worked. After a few dates and "getting to know you" conversation, I revealed myself as a Queen fan. She was a Deadhead. She didn't have to tell me. It was apparent by the stickers on her car and the music in her apartment. In April of 1982, against my better judgement and despite my long history of concert-going, I was taken to my first (of many) Grateful Dead shows. Let's just say... I love my wife a whole lot more than I love the Grateful Dead. I only thought it would be fair to take my soon-to-be wife to a Queen concert. (Turnabout is fair play.... isn't that how the saying goes?) So I did. Queen was coming back to Philadelphia in the summer of 1982. I bought three tickets — one for me, one for the future Mrs. P and one for the original Mrs. P... my mom. My mom had developed into quite the avid Queen fan. She bought Queen albums before I did. She turned up the volume when she heard Queen songs on the radio. (Oh, she recognized Queen songs on the radio, unlike my dad who... well, my dad didn't.) So, that summer I took the two Mrs. Ps to their very first Queen concert. One was ecstatic. The other, not so much. 

The show — in my very biased opinion — was great. My mom cried the moment Queen took the stage. (She loudly voiced her dismay with opening act Billy Squier, commenting: "Well, he sucked!") My mom was just beside herself — dancing and singing along and squealing like a teenager. Mrs. P-in-waiting, however, was unimpressed by Freddie Mercury's descent to the stage on a flower-covered swing, citing that Jerry Garcia never did such a thing. My future spouse questioned the band's numerous costume changes, asking if that was a ploy to cover for their lack of talent. I noted that Jerry Garcia had been wearing the same black t-shirt since 1968. We remained quiet for the rest of the show.

While Queen mounted several more tours before Freddie Mercury's death, they never returned to the United States after 1982. 

I got to see Queen five times. This week was the forty-ninth anniversary of that very first show. Time sure does fly when you get old you're self-indulgent.

www.joshpincusiscrying.com

comfort and joy

There were a series television commercials when I was a kid that fascinated me. They were commercials for Cream of Wheat, the hot breakfast cereal, perennially overshadowed by its more celebrated oaten comrade. The commercials all depicted approximately the same premise and message. A boy or a girl — or, sometimes a boy and a girl — are seated at a typical family breakfast table, spooning heaping servings of Cream of Wheat into their hungry maws while an authoritative voice expounds on the nutritional value of the less-popular, bastard cousin of breakfast stalwart oatmeal. Then came the most exciting part of the commercial. After slurping down the last vitamin-filled glob of Cream of Wheat, the child would tie on a scarf, zip up a jacket and head out for a day filled with running and jumping and other stuff kids were expected to do in the early 70s before their eyes were glued to a video game or a smartphone screen. But — and here's the part I loved — before they left the house, a ghostly bowl of steaming Cream of Wheat would rise off the table and float eerily about the child's head. When the child left the house, there was that bowl of Cream of Wheat, animated tendrils of warmth swirling above its cartoon rim, hovering protectively just inches from the child's head. The announcer reassured us that the vitamins and energy packed into each delicious bowl of Cream of Wheat followed your child and stayed with them throughout the day.

Well, I was sold. I begged — begged! — my mother to buy Cream of Wheat. And, she did... along with a big cardboard canister of Quaker Oatmeal for my father, because my father.... well, my father wanted what he wanted...and that was oatmeal.... and not that "creamy wheat" shit.... oh, and cigarettes. On weekends in the winter, and sometimes if I got up early enough before school, my mom would make Cream of Wheat for me. There was no instant Cream of Wheat when I was a kid. No instant boiling water and certainly no microwaves. My mom would actually cook the Cream of Wheat in a pot on the stove, closely following the detailed directions printed on the side of the box. She'd carefully measure each precise quantity of water and dry grainy Cream of Wheat in a large glass measuring cup. She'd bust out her jailer's ring of aluminum measuring spoons to dole out the exact amount of salt the recipe called for. I'd wait impatiently, watching my mom stir and stir and stir the contents of that little pot until the allotted time had passed (again, according to the recommendation from the good folks in the trusted test kitchens of Nabisco's Cream of Wheat Central). My mom would grab a bowl from our kitchen cabinet. Setting it down on our kitchen table, she'd tip the pot slightly, allowing the golden gloppy mixture to lazily flow into the bowl. Then, she'd add a pat of butter, a few generous teaspoons of sugar and a splash of milk, again, adhering to the "serving suggestions" from the hot cereal authorities at Nabisco.

I ate that Cream of Wheat and I really liked it. I liked the creaminess (hence the name!). I liked the sweetness, not realizing that it was due to the ridiculous amount of sugar my mom added. I liked the smooth texture (what they call "mouth feel" now, thanks to a slew of pretentious Food Network programs) and I liked the warmth it provided as it made its way to my stomach. I was, however, very disappointed that I didn't have a ghostly bowl follow me for the rest of  the day, like in the commercial. Oh, believe me... I looked. I looked a lot. I tried to spot it in my peripheral vision. I tried to spy it lurking above my head or ducking behind a tree as I walked to the school bus stop. After a while, I resigned myself to the fact that the floating bowl only followed those kids on television. But, I still ate Cream of Wheat.

Now, I am almost 65 years old. I hate winter. I hate the cold. I hate snow. I hate shoveling snow. I hate driving in the snow. I hate worrying about other people driving in the snow. I hate going to work in the dark and coming home in the dark. The only thing about winter that I do like is Cream of Wheat. When the temperatures start to drop and Canadian winds blow cold air down to our area, that's when I buy a box of instant Cream of Wheat to supplement my regular breakfast of cold cereal. Unlike the days of my youth, when my mom would avail herself of the elaborate ritual of Cream of Wheat preparation, I can just empty a premeasured envelope of dry Cream of Wheat into a bowl, add two-thirds of a cup of water and pop it into the microwave. One minute and thirty seconds later, I have a hot bowl of Cream of Wheat, all ready to receive a small scoop of non-dairy margarine (instead of butter) and two packets of Splenda substituting for the sugar my mom insisted on adding. That first spoonful brings me right back to my childhood kitchen table. When they talk about macaroni and cheese and real mashed potatoes being "comfort foods," I always think of Cream of Wheat as my "comfort food." I am still comforted by Cream of Wheat. Remember that climactic scene in Ratatouille when surly food critic Anton Ego is mentally transported back to his childhood by a single taste of a dish from his distant past? That's me and Cream of Wheat! It reminds me of a time when my biggest concern was which cartoon to watch on Saturday morning. It takes me back to a time when I didn't have to hear some asshole supermarket owner tell me to make the price of blueberries in his store's ad three times its current size and to move that can of soup just a skosh* to the left. It's simple. It's calming. It's comforting. 

Yes sir... Cream of Wheat sure is good.

And I'm still looking for that bowl floating behind my head.

* Yeah, that's how it's spelled. I looked it up.

www.joshpincusiscrying.com

this is a photograph

I have a box of photographs in my basement. It's been there for over thirty years. It took up residence on a little shelf in a closet in my basement in 1993, just after my father died and we cleaned out his house to make it ready to sell. It was filled very quickly at my father's house (the house in which I grew up). Drawers and closets were opened and the contents were quickly assessed. After the separation of stuff deemed "trash" and stuff which Mrs. Pincus saw as "saleable," photographs — all photographs — were tossed into a cardboard box and brought to my house. You can't throw photographs away!, we thought. They're photographs, for goodness sake!

And there they sat. In a box. In my basement... where no one looked at them. No one organized them. No one cared about them.

My mom was the unofficial historian for the family. She knew who was married to who, whose children belonged with which cousin or aunt or whoever. Her knowledge of the family went back to generations that were around before she was born. She knew about family members that never made the trek to the United States. When she married my father, she even was able to decipher relationships in the mysterious Pincus branch of the family. Unfortunately, my mother died in 1991 and she took the family history with her. There was no longer anyone to ask about the ins-and-outs of uncles and grandparents and "how is he related to us.... again?"

In the early days of the COVID-19 insolation, I found myself wandering around my house, looking for something to occupy the time. I came across the box of photos in my basement. I had just joined a private Facebook group that was set up by a second or third cousin with whom I had lost touch. The group was devoted to my mother's side of the family. I started to rifle through the box of photos and select those which featured people I could Identify. Most of these showed my mother in her teens and early 20s. That was a time when she was — to put it into today's terms — a party girl. My mom was gregarious fun-loving girl, always looking for a good time and a hunky guy to latch on to. It didn't hurt that she bore a passing resemblance to actress Barbara Stanwyck. I uncovered dozens and dozens of snapshots of my mom. In most, she was mugging for the camera, striking poses that rivaled 1980s Madonna. In some of the pictures, her arm was laced through that of a shirtless guy with a swimming pool in the background. In others, she was all smiles as she was embraced by a guy in a snappy military uniform. None of these men, I should mention, were my father. 

I found other pictures, too. I found shots of my brother, me and the rare example of the two of us together in the same picture. Most of these pictures were taken by my father, whose inimitable style was apparent by the amount of space above our heads and the fact that we were not always the main focus of the composition. In other photos, I recognized the faces of cousins who are now in their late 60s and 70s. I found pictures of long deceased uncles and aunts seated on sofas I remembered from my childhood living room. However, there were dozens and dozens of pictures that showed people I did not recognize. Smiling women and stern-faced men peered in the direction of the camera. Laughing girls and awkwardly posed young boys sporting thick-framed glasses stared at me from those warped and faded squares of celluloid. And then I'd pick up a picture of my mom in a fur coat on the Atlantic City boardwalk, letting me know that these pictures all belonged to the same family. It's just I was not able to identify everyone.

Mrs. Pincus and I took a lot of pictures. We have pictures from Walt Disney World, Niagara Falls and Hershey Park. We have pictures from ball games and pictures of our cats rolling around on our kitchen floor. We have loads of pictures of our son, from his first day of school and seeing him off to summer camp to high school graduation and countless New Years Eve celebrations. Some of  those pictures have been neatly arranged in multipage albums, but most are still in their developing service envelopes and stashed in the drawers of a dresser in our guest bedroom. (If you want to stay overnight at the Pincus house, you're keeping your clothes in your suitcase.)

I started thinking....

My wife and I are in our 60s. What on earth will become of our photographs when our time among the living comes to an end? And what will be the fate of that box of photographs in our basement? 

My son (who is in his middle 30s) has a house of his own. I can assure you that he does not want to clutter said house with a bunch of photographs from his parents' house, let alone a box of pictures of people that I can't even identify. I'm pretty sure that all of the pictures in our house will meet the same fate that all that unopened mail in my father's house experienced. That would be "Dumpster City."

There have been a lot of great inventions over the years. The electric light bulb. The printing press. Television.  I think the greatest invention is digital photography. If only digital photography was around in my parents' youth. I wouldn't have a mystery box of pictures in my house. I wouldn't have drawers and drawers of pictures that my son will probably toss sometime after my funeral. 

Yes sir. Digital photography is a true innovation. No boxes of pictures. No waiting for developing. And that all-powerful, all-important "delete" function.

www.joshpincusiscrying.com

i can tell that we are gonna be friends

Please. Can someone please explain to me why it is so important to some people that I like what they like? Can't I have my own opinions on things? I don't mind if you like something different than what I like. It doesn't bother me in the least. We can still talk. We can still be friends.

Why do some people do their very best to try to convince me to like what they like? Why is it so important? Is everything a contest? Is everything a debate? 

Years ago, my brother-in-law (who, by the way is the king of "you must like what I like") made some sort of stew with ingredients selected specifically to impress everyone who would ask: "Hey, what's in this?" After a long session of cajoling that was borderline intimidation, I sampled a small spoonful of his concoction. First of all, it had an aroma that was very unappetizing to me. Despite that immediate turn-off, I tasted it anyway... just to be polite. I didn't like it. I told him I didn't like it. He got furious. I mean raving, seething, face-turning-beet-red furious! He threw the spoon down and began berating and insulting me — waving his hands and cursing like a longshoreman. (Side note: I never have to worry about this scenario ever repeating because I no longer speak to my brother-in-law.)

I like music. My musical tastes lean towards the eclectic. But, boy oh boy! do people get downright defensive about the music they like. Some people are very quick to declare that  a certain band sucks if you express the slightest affinity towards something that they don't like. Conversely, those same people will label you as an idiot if you do not like their favorite band. I have started to say "I don't care for that" if I am asked my opinion on a song or band I do not care for. I have come to the conclusion that there is no bad music. Every band is someone's favorite band. It's just some bands appeal to me more than others... and those bands may be different from the ones you like.

I was reading the reviews for different movies on the invaluable Internet Movie Database (IMBD). On one particular movie, someone had posted a very thoughtful — although decidedly negative — review, complete with in-depth commentary, analysis, and comparisons to similar films within the same genre. The first comment on this amateur reviewer's post read: "If you didn't like this movie, your mother sucks, asshole!" 

I watch a lot of movies and I happily admit that I have specific likes and dislikes. I don't like superhero movies. I don't like science fiction movies. I like horror movies, but I don't like the current trend of so-called "body horror," which I feel is more of an endurance test than entertainment. I prefer comedy to drama, but I do like a well-written, well-acted story. That said, I have gotten recommendations from friends, acquaintances and others with whom I come into contact. Mostly, these suggestions are "You'll love this because I loved it!" Honestly, that means nothing and it's hardly a valid reason to get me to watch a movie. I have been told — told! — to watch superhero movies, despite the reminder that I do not care for that genre. "No! No!," the referrer insists, "You'll like this one!" Others have told me to watch a particular Jim Carrey movie, even after expressing my dislike like for the Jim Carrey films I have seen. "No! No!," come the protests, "This one is different! He's different in this one." Of course, he's not.

I just watched a recent movie, one that shall go nameless but recently broke the record for the most Oscar nominations is history. I watched this particular film. In my opinion, it was okay. I thought it was beautifully shot. The cast was great. The acting was top-notch. The story was very, very compelling... until it wasn't. In my opinion (and I keep stressing that), it fell apart at its climax. Author Jason Pargin (John Dies At the End and former editor of Cracked.com) offered a very good assessment of the movie in question. He said that the first half was a great story, with stellar character development and an intriguing set-up. The first part of the movie was so well done that there was a feeling of disappointment when  — SPOILER ALERT!!! — the monsters show up. It was as though the monsters interrupted a story that I wanted to follow and see to a conclusion. I felt cheated. That is exactly how I felt... and I expressed my opinion briefly on social media, grabbing my phone as the credits of the movie were rolling. Almost immediately, I was chastised, rebuked and castigated by a contingency of folk to whom I am connected. I was berated for not getting the "true meaning" of the movie. Oh... I got the "true meaning." I fully understand symbolism. I have been watching symbolism in books and movies for years. I know that George Orwell's Animal Farm is not really about talking pigs. I understood the symbolism in A Face in The Crowd and Get Out. It's just this particular movie didn't do it for me. I don't need a refresher course in Film Making 101. I don't wish to be schooled. I watched the movie for entertainment... to take my mind off of bills I have to pay and assholes I have to deal with at work. As a distraction from bad drivers and unexpected car repairs. The movie was just okay. In my opinion (and I can't stress those three words enough), it was another case of great acting of a run-of-the-mill script. I see a lot of that. There are movies I like and movies I don't like. Just like you.

If you liked that movie... if you thought it was a meaningful, groundbreaking, important tour-de-force — well, good for you. I'm happy that you enjoyed it. Why is it so important that I feel the same about it?  And why do I need to be convinced that I cannot dislike a particular movie?

You have your opinion. I have mine. Let's still be friends.

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

I fought the law

DISCLAIMER: If you are a lawyer, you might want to skip this week's entry on It's Been a Slice. I know how sensitive lawyers can get and I know how insulting I can get. In this post, I will knowingly make blanket statements and unfounded claims with little to no proof to back them up. If you are a lawyer, you won't find this particular post funny. (As for the rest of you, you may not find any of my posts funny, but I am addressing just the lawyers right now.) I am giving you fair warning to get out now.

I worked in the marketing department of a fairly large east coast law firm for nearly ten years. In that time, I grew to really, really hate lawyers. For the most part (uh-oh! here comes one of those blanket statements I was telling you about!), I found them to be arrogant, condescending know-it-alls who were convinced that just because they went to law school, they were capable of doing your job in addition to their own. They were experts on everything. They were a source of knowledge on just about any subject. On a personal level, I was often given unsolicited design advice and instruction from lawyers. 

It's complicated.

The firm that employed me was very aggressive when it came to marketing and the marketing department boasted over a dozen members. Nevertheless, lawyers constantly injected their own ideas, based purely on the fact that they went to law school. Once, I was designing an invitation for a conference in our Harrisburg office. The lawyer I was working with asked for the size of the invitation. In a telephone conversation, I told him it would be in postcard form, measuring eight and a half inches wide by five and a half inches high. He said he could not visualize it and requested a printed sample. I asked if there was a ruler available in his office. Again, he pressed for a printed, actual size sample. I told him it was the size of a regular piece of copy paper — one that is currently in a tray in the office Xerox machine — folded in half widthwise. He was not interested in any sort of exercise in origami. He demanded — demanded, I tell you! — a printed sample. I was convinced that, despite his years of college and law school education, this guy was either too important or too dumb to know how to operate a ruler.

One of my other jobs at the law firm was producing standard "support" ads for program booklets. These are very generic ads, usually offering "congratulations" or "best wishes" for someone being honored by a local organization. These ads were solicited to raise additional funds to either lessen the overall cost of an event or to contribute to a charitable entity. Because the law firm placed so many of these kinds of ads, the ordering process was streamlined to a few clicks on the firm's intranet. Every so often, an attorney - who was placing one of these ads - would request a full-color version. I would check the specifications from the organization to see if they allowed for color. If they did not, I would inform the attorney that the booklet in question would be in black & white. This, of course, would lead to an argument, because you cannot tell a lawyer that they can't have something they want. I would explain — again — that the booklet would be printed in just black ink. In some cases, I was ordered to submit a color ad and "see what they could do." Of course, "what they could do" was to tell me to resubmit a black and white ad.

Another time, I was having a heated discussion with a co-worker in her office. Perhaps our exchange got a little too loud and our voices carried out into the hallway. One of the firm's lawyers poked his head into her office. I expected him to tell us to keep our voices down, which would have been understandable. But, no... he actually began offering ways in which we could solve our little disagreement. My co-worker and I were so taken aback by the uninvited hubris this guy exhibited that we nearly forgot what were were arguing about.

Yet another of the firm's lawyers supplied a mailing list of contacts to whom he wanted a mass-mailing sent for an upcoming seminar that he would be hosting. He was very specific about the names included on the list and asked the woman in charge of mailing to pay close attention to the list — not to add any of the firm's other contact lists to his special list. The invitation was prepared, printed and mailed to his special list, as per his instructions. After a reasonable amount of waiting time, the seminar was canceled for lack of interest. The special list received not a single reply.

I was relieved of my position at the law firm just before Spring of 2018. I have had three jobs since then. But, my feelings toward lawyers have not waned. 

If you are a regular reader of this blog (besides me, I wonder why anyone would be a regular reader of this blog), you know I spend an inordinate amount of time watching television. I have taken notice of several commercials for local law firms — two in particular. The first features a local lawyer discussing his various case wins with a group of folks in a relaxed setting. Everyone is seated on a sectional sofa while the lawyer expounds on his winning record — delivered in a tone that's a strange combination of empathy and arrogance, with the "empathy" part sounding very insincere. The lawyer in the commercial reminds me of a lawyer I encountered almost ten years ago when an alleged UPS employee sued me (via my insurance company) over an alleged fall on my property. He is slimy and weasle-y and in a gazillion years I would never hire this guy to represent my interest in anything.

In another series of commercials for another Philadelphia law firm, the two principals are shown discussing important facts of a pending case (I assume) while strolling past prominent and recognizable sights in Philadelphia. There are scenes of them near the Liberty Bell and Independence Hall and City Hall. (I suppose they opted against showing them cavorting with Gritty and that's probably for the best.) Both gentlemen are dressed in tailored business suits. One of them, however, desperately needs a haircut. Up front, he has a receding hairline, but in the back....? It appears as though he leapt from his barber's chair to attend to an unexpected emergency and never returned to finish up his haircut appointment. Ever. And that appointment was months ago. I'll tell ya... if I decided to employ the services of this particular law firm and this guy and his "bushy bushy blond hair-do" walked into the office for our first consultation, I would immediately show myself to the door. There ain't a jury in the world who would take this alta kaker and his flowing locks seriously. Plus he reminds me of an old boss that I hated.

I actually have plenty more to say about lawyers, but I think I've made my point. Plus, I probably have lost a few readers.

So, sue me.

www.joshpincusiscrying.com

many miles away

The internet is a funny thing. 

Thanks to the internet, I have discovered and interacted with dozens and dozens of people with whom I share a common interest. Some people share my love of old television shows and movies. Some, like me, have decided to make graphic design their chosen career. Others — and these are a decidedly eclectic group — have eschewed "normal" hobbies like stamp collecting, scrapbooking and crocheting in favor of seeking out the final resting places of celebrities. Yep... I number myself among those folks. And we are a surprisingly large contingent.

Through the magic of a network of interconnecting computers that stretches completely around the globe, I have "met" a number of folks who think it's totally normal to traipse through a cemetery on a sort-of scavenger hunt to locate the grave of a favorite actor that has passed... or perhaps an unsung hero to pay long overdue respect.

That's how I "met" Mark Masek. Mark Masek has written several books about cemeteries, chock full of tales of the famous, the not-so-famous and the notorious, for no other reason than keeping their memories alive. He also created the cleverly-named Hollywood Remains to Be Seen website, wherein he provides maps and directions for locating the graves of all levels of deceased celebrities across all of the major cemeteries in California and beyond. I used Mark's invaluable resources when I planned my first cemetery visit over a dozen years ago.

I don't remember when I first connected with Mark via the World Wide Web. It was either on Instagram or back when I was still a Twitter user. Then, when I joined Facebook, (reluctantly, I might add), Mark and I connected and engaged in "conversation" that reached beyond cemeteries. We discussed old movies and television programs from our youth. Then there was baseball. Mark was a fan of the beleaguered Chicago Cubs and we often exchanged friendly jabs when baseball season got heated as the coveted post-season approached. I would make rapid-fire posts about the soon to be beleaguered Philadelphia Phillies and Mark was right there to remind me what I had said about the Cubbies. In 2020, I began a series of artistic posts on my website that Mark really liked. I created movie posters, recasting current, popular titles with actors and actresses from Hollywood's Golden Age. I did my best to mimic the style, color, design and fonts for the era. I ended up doing 76 of them. Mark commented regularly, expressing his appreciation of the series and singling out some of his favorites. I was humbled by his compliments.

And then there was the calendar. Mark created the Deathiversaries calendar, a comprehensive chronicle of celebrity death anniversaries (a different one on each day of the year), accented by beautiful photographs of grave markers — one for each month. Mark did some extensive research and never duplicated anniversaries from year to year. Mark also took the pictures himself. Every year when I received my calendar, I'd post a little plug on my Facebook page, touting the possible appeal to my fellow taphophiles (yeah, we even have a collective name). Mark would always thank me for the post.

On December 15, in my own daily celebrity death anniversaries, I noted the 1675 passing of Dutch painter Johannes Vermeer. Mark commented that he'd never forget where he was when he heard the news.

On December 29, 2025, I had a brief online text conversation with Mark. A friend of mine posed an open inquiry for information about "print-on-demand" for calendars. I contacted Mark to ask about his experience with the company that prints his calendars. Once again (and certainly not unexpected), Mark quickly replied in great detail about his satisfaction with the process and the final product. He wished me and my family a "Happy New Year" and I returned the sentiment.

Another friend — also one I have never met, but who shares my love of cemeteries, television and all things pop culture — sent a message to me yesterday. She told me that Mark had passed away on New Year's Eve. 

I was devastated. It made no difference that Mark and I never met face to face. I had lost a friend. Condolences began to circulate among the tight, online group of cemetery enthusiasts to which I am connected — mostly from folks who, like me, had never met Mark. But, it was quite apparent that Mark was a good guy. Humble, knowledgeable, generous, funny, sweet, kind.

I'll never forget where I was when I heard the news. Rest in peace, Mark.

www.joshpincusiscrying.com