will you still need me, will you still feed me

Tomorrow is my 64th birthday. 

In May 1956, 14-year old Paul McCartney started writing a little ditty about being 64. Despite the onslaught of rock and roll on young Paul's radio, he decided to compose the song in a cabaret style. Eleven years later and riding high on worldwide popularity, Paul dug out his composition and convinced his bandmates in the Beatles to record the tune for inclusion on their groundbreaking Sgt. Pepper's Lonely Hearts Club Band. I'm sure John balked, as he often derided a lot of Paul's songs as "Granny music," but the bespectacled Beatle contributed some additional lyrics to the song and it proved to be both endearing and enduring. It went on to be covered by dozens of other artists from Cheap Trick and John Denver to Claudine Longet, The Flaming Lips and Keith Moon. Well, Paul, I find myself asking the same questions that your chorus poses.

When I reached my 60s, I started to think about my own mortality. I know I'm not going to live forever. No one lives forever. For the past few years, around this time of year, I have written about folks that have achieved great notoriety, but that I have outlived. Here are some people you may have heard of that didn't live to see their 64th birthday.

John Banner was an actor who fled his native Austria in 1938 when Hitler's regime annexed his homeland as part of Nazi Germany. He ultimately got his own little revenge by playing buffoonish German soldier "Sgt. Schultz" in the 60s sitcom Hogan's Heroes. Portraying the character as a dimwitted goof gave John a lot of satisfaction. He played other roles — both humorous and dramatic — on television and in movies. He died on his 63rd birthday.

Robin Williams was a multi-faceted, multi-talented actor and comedian. His breakout role as TV's loveable alien "Mork from Ork" was the springboard for a celebrated career that included stand-up comedy, numerous dramatic and comedic films, voice-over work and even an Academy Award. Robin secretly dealt with a lifetime of depression and, after a diagnosis of Parkinson's disease and Lewy Body dementia, he took his own life on August 11, 2014 — my 53rd birthday. Robin was 63.

Audrey Hepburn was the perfect combination of poise, beauty and talent. She starred in a number of popular films from light comedy to musicals to harrowing suspense — turning in stellar performances in each and every role. She was awarded an Oscar, an Emmy, a Grammy and a Tony (the rare and coveted EGOT) and earned herself the moniker of "legend," a term often applied to non-deserving celebrities. But in Audrey's case, she embodied "legend." A life-long humanitarian and advocate for UNICEF, Audrey passed away at the age of 63.

Franklin Delano Roosevelt served as President of the United States longer that anyone else. He was elected for four consecutive terms and is considered by political experts as one of the greatest presidents in US history. Just prior to a scheduled appearance at the UN, he posed for a portrait by artist Elizabeth Shoumatoff. The president said, "I have a terrific headache" and slumped forward in his chair, having suffered a fatal cerebral hemorrhage. He was 63 years old.

Ulysses S. Grant led the Union Army to victory in the Civil War. In 1869, he was elected the 18th President of the United States. He advocated the Fifteenth Amendment to the Construction and is generally considered to have served an effective presidency. After leaving office, he wrote a memoir which he completed on July 18, 1885. He died five days later at the age of 63.

Wilt Chamberlain was arguably one of the greatest basketball players of all time. Standing at a little over seven feet tall, Wilt held 72 NBA records, including the only player to score 100 points in a game. After his retirement, Wilt was the commercial spokesman for several companies including TWA, American Express, Lite Beer and Volkswagen. He owned a nightclub in Harlem and invested in thoroughbred horse breeding. He claimed to have had sex with 20,000 women. He died of congestive heart failure at 63 — with a smile on his face.

Donna Summer enjoyed a successful career as a singer in the disco era. Her string of hit songs earned her the well-deserved nickname "Queen of Disco." She released 18 albums (ten of them certified gold) and almost 90 singles. She even dabbled in acting, playing the aunt of "Steve Urkel" in an episode of the 90s sitcom Family Matters. A non-smoker, Donna passed away from lung cancer at 63.

James Baldwin was a writer, poet and outspoken activist for civil rights. His 1955 collection of essays "Notes of a Native Son," elevated James as a influential voice for human equality. His works raised awareness of sexuality, race, gender roles and class designation. He died at 63 in 1987, while working on a memoir. His publisher, McGraw-Hill, sued his estate for the $20,000 advance they paid for the proposed book. The suit was dropped in 1990.

Mickey Mantle was considered one of the greatest ever to play the game of baseball. With 563 career homeruns, he is the only player in baseball history to hit 150 homeruns from each side of the plate. "The Mick" appeared in 12 World Series and holds eight World Series records. Off the field, his life was filled with tragedy, including a failed marriage, infidelity, poor business decisions and alcohol abuse. He died from liver cancer at 63.

Alfred Nobel was an inventor, holding 355 patents. He is most famous for inventing dynamite. When he died, at 63, he donated his fortune to fund the Nobel Prize which annually recognizes those who "conferred the greatest benefit to humankind."

Rembrandt Harmenszoon van Rijn is widely regarded as one of the greatest visual artists in the history of Western art. He produced work in a wide range of subjects including portraits, landscapes. biblical scenes, animal studies and allegorical depictions. He was a master of light and dark and composition. However, his personal life was fraught with turmoil and legal and financial shortcomings. He died nearly destitute at 63.

William Holden was a celebrated actor, with starring roles in Sunset Boulevard, Sabrina and his Oscar-winning turn in Stalag 17. He held is own alongside Humphrey Bogart, Glenn Ford and George Raft in Westerns and gangster films. He remained popular into the 60s and 70s, as part of an all-star cast in The Towering Inferno, Network and an Emmy-winning performance in TV's The Blue Knight. In 1981, a drunken William Holden tripped and fell in his Santa Monica apartment. He hit his head on a table and bled to death. He was discovered four days later, just inches from a working telephone. He was 63.

Guglielmo Marconi invented the radio. He founded the Wireless Telegraph & Signal Company and was awarded the Nobel Prize in Physics in 1909. Sure, he was a fascist anti-Semite, but — c'mon! — the goddamn radio! He died in 1937 at the age of 63.

Patrick Henry was a noted figure in the American Revolution. A patriot of the first order, he famously declared "Give me liberty or give me death!" Liberty did eventually come, but so did death — 24 years later — at the age of 63.

Tommy Cooper was a popular British comedian known for his manic delivery, silly magic tricks and signature red fez. He died on live television in the middle of his act. He was 63.

Dock Ellis holds the Major League Baseball record for pitching a no-hitter while under the influence of LSD. A famously colorful character, Dock purposely tried to hit every batter in the Cincinnati Reds line-up until he was pulled from the game by his frustrated manager. A heavy drinker, Dock died at 63 while waiting for a liver transplant.

Tomorrow, I turn 64. I never invented anything of worldwide significance. I never set any sports records. I never won an entertainment award. I never inspired a nation to seek independence. My artwork has never been revered for its technical achievements. But... I will — most likely — make it to 64.

I'll let you know tomorrow.

www.joshpincusiscrying.com

even in the quietest moments

I started my current job almost four years ago. This is — I believe — my billionth job since I graduated from art school forty years ago and entered the wonderful world of graphic design (although, forty years ago, that term did not exist. It was called "commercial art" back then.)

At my current job — one that I hope will be my last — I have an attitude that differs from every previous job I have had. I go in. I do my job. I go home. I am not there to socialize. I am not there to chit-chat. I am not there to make friends. I am there to work. And work I do. Until I leave for the day. I have little to no interaction with my co-workers. When I do, the topic of conversation is always — always — work-related. I don't know any personal details about my co-workers and I don't want to. Similarly, my co-workers know nothing about me. Some of them, I'm fairly sure, don't even know my last name.  And that's fine.

I layout and maintain advertising circulars for supermarkets, some comprised of multiple versions with slight price changes and product substitutions across various geographic markets. In order to maintain a handle on subtle changes on a piece that pretty much looks the same week after week, a certain amount of concentration and focus is required. In addition, the pace is quick and deadlines are almost immediate. I have been doing jobs like this for four decades and, while it is tedious work, I have managed to keep the rhythm that it requires to produce (mostly) accurate end results.

I have gotten into the habit of arriving at work early, long before any of my co-workers show up. I like sitting in a quiet office and doing my work undisturbed and without extraneous distraction. Each morning, I get approximately 90 minutes alone to work in silence before my first co-worker breaches the door to my department. The first one in, thankfully, works in a small office down the hall from me and she is very quiet. It isn't until 9:00 that the department fills up with.... well... co-workers that don't shut up.

I share an office with a guy that, while he doesn't speak that much, giggles. Loudly. And often. On a regular basis, this guy snorts and titters at something. I assume it isn't the ad on which he should be working. I surmise it is something that he is covertly watching on the internet. Then, another co-worker enters our shared workspace to use the communal microwave that rests on a nearby table. After he activates that microwave, he has a lengthy conversation with "the Giggler" about the latest movie in the Marvel Cinematic Universe or last night's football game. The conversation is annoyingly punctuated by a lot of "y'know"s and "yeah, I hear ya"s and lasts way too long.

Then there's Theresa. Remember Theresa? She's been working for my employer for twenty or more years. She is loud and brash and pushy and irritating. Once, I was asked to give her assistance with an ad that I had never worked on before. She rushed through a disjointed explanation of what I was to do, then criticized my work when I didn't correctly complete what she poorly explained. Later, Theresa criticized a new co-worker that I was training. Her complaint? This new girl is quiet and doesn't even say "hello" to her. (You can read about that HERE.) 

Theresa's desk is in a separate office within my department. It is down and across a short hallway. In normal terms, she should be out of earshot. But, alas, she is not. Every morning — every fucking morning — she talks and talks and talks and talks. Loudly. Very loudly. About nothing. I can't really make out the actual words she says. I can only hear the tone of her voice. And it drones on and on. Like a mechanized "hum" you'd hear in a powerplant or manufacturing facility. It kind of sounds like the indistinguishable babble spoken by the unseen adults in the "Charlie Brown" cartoons. That fact that I can hear her, considering how far my desk is from hers, is a testament to how loud she is speaking.

Most mornings she goes on for fifteen or twenty minutes at a time. Sometimes longer. I believe she is speaking to another co-worker with whom she shares an office. I never hear the other woman speak, just Theresa. The afternoon usually brings another round of nondescript yammering. This is an every day occurrence. Every. Single. Day. Except for the days when Theresa has a scheduled day off. Otherwise..... talk talk talk talk talk.

I can't understand how she gets any work done. Sometimes, I can't understand how I get any work done.

www.joshpincusiscrying.com

when I go out with artists

When I graduated from high school in 1979, I didn't know what the heck I wanted to do with my life. I had been drawing since I was a little kid, but the thought of making it a career didn't sit right with me and it especially didn't sit right with my father. My father was a hard-working, company-loyal, old-school, narrow-minded, Nixon-loving, World War II veteran who woke up early every morning to go to a job that treated him like shit. But, in his generation, that was the way things were. As far as my father was concerned, being an "artist" was no way to make a living.

My mother, on the other hand, was much more supportive. A free-sprit for most of her single life, my mom encouraged my creativity and natural talent — possibly living vicariously through me, silently pining for the carefree days that were stifled when she married my father. My mom let me know that it was okay to take a year after high school to decide the course my career should take. College would always be there, so rushing into things was not necessary. I toyed with various options. I thought about enrolling in culinary school, but tossed that idea aside when I realized that my "cooking skills" were limited to preparing a bowl of cereal and heating up frozen pizza (the latter of which I didn't do very well). I wasn't a very good academic student. Math concepts eluded me. History bored and confused me. I thrived in art classes, despite some of the older art teachers that were burned out and appeared to be going through the motions. I was motivated by a young student teacher who introduced free-form assignments and offered a fresh perspective. But, I still couldn't imagine making "art" my career. So, at my mother's suggestion, I got a job as a cashier in a retail clothing store in hopes of climbing the proverbial "corporate ladder" and making the wide world of retail my chosen profession. Except, I fucking hated that job. It was enough to send me over the edge and enroll in art school. But not just any art school.

Once my decision to go to art school was made, I began to research and determine my options. Philadelphia boasted several well-respected art schools. Some under the auspices of larger universities. Others were stand alone private institutions. Almost all offered a Bachelor of Fine Arts degree after completing a four-year course of study. One four-year school, however, only awarded an Associates degree. This school required no academic subjects, only art classes. No academic classes? Hot damn! That was the school for me! 

I arranged for an interview at Hussian School of Art. I was asked to bring recent samples of my artwork and have transcripts from my high school sent over. No SAT scores were required and they had no interest in what kind of student I was. These were my kind of people! I went to the interview with my mom and I sat across a big desk from the president of the school as he personally reviewed and assessed my work. My portfolio consisted of mostly cartoony drawings along with a few paintings I had done as a high school senior. Mr. Dove, a soft-spoken man in a light suit and flowered tie, quietly examined my work. Finally, with just the tiniest hint of a smile, he told me I would be accepted to join the next class in September 1980. He also added that the school's curriculum would knock this "cartoony stuff" right out of my system. They would teach me to be a real artist. 

Hussian was a very small school. Very small. It was housed on three floors of an office building in center city Philadelphia. They only accepted 80 freshman per year and, as I came to see, almost half would drop out before reaching their senior year. It was a tough school with some difficult assignments and teachers who demanded perfection. Their critiques were often brutal, sometimes sending some of the more sensitive students running from a classroom in tears. I, myself, experienced a smattering of anti-Semitism — some of it from teachers. But everything was done to prepare budding artists for the real world. In my early 20s, I didn't fully understand what exactly we were being warned about. At 62, and after 40 years in this God-forsaken business, I understand. Boy, do I understand!

My class at Hussian boasted a lot of talented artists. There were a wide variety of styles and ideas, mixed with a wider variety of personalities and temperaments. There was a lot of camaraderie and there was a lot of rivalry, bordering on animosity. By the end of four years, my class of 80 was whittled down to 43 — just as predicted. We graduated at an intimate luncheon in May 1984 that my father did not attend. At the conclusion of the ceremony, I was a professional artist. 

I have worked consistently in the general art field for my entire adult life. I've had many jobs and worked for more than my fair share of assholes. Hussian prepared me well. Sure, I have expressed frustration over the unqualified opinions of talentless superiors who couldn't identify a serif with a gun to their head. But, I have also learned that, contrary to my father's beliefs, I could make a living as an artist.

I was surprised to learn how many of my classmates form Hussian chose not to pursue a career in the field of art. Some have successfully gone into such diverse alternative lines of work as home construction, nursing, corporate administration and even music. A handful have followed their chosen course of study and even ended up teaching others. Admittedly, I use very little of what I learned at Hussian in my everyday work, but there is no denying the positive foundation they forged at the very beginning.

from the Hussian website.

Just this week, a surprise announcement broke in the local press. The University of the Arts, a beloved amalgam of creative intuitions dating back to the 19th century, will abruptly close its doors forever in the wake of losing its accreditation. UArts is the second art school to announce a closing in Philadelphia this year (the other, The Pennsylvania Academy of Fine Arts will close at the end of the 2024-25 academic year). Over the past few years, The Art Institute of Philadelphia closed, The Delaware College of Art & Design closed and the suburban campus of the Tyler School of Art closed, although the program still exists on the main campus of Temple University. I was also made aware of the quiet closing of Hussian School of Art in August 2023. With no fanfare, no media coverage and no announcement to alumni, Hussian's board of trustees determined that they were unable to continue, based on the current financial outlook and declining enrollment.

I maintain that working commercial artists are one of the most misunderstood and disrespected groups. If you are not an actual working artists, you can never fully understand that it is indeed a job. It's a job just like a mail carrier or a waiter or a bus driver or even a doctor. It's not just a "fun extension of a hobby." It is work. It takes concentration and effort and energy just like your job. Artists don't want to be presented with a "fun project." If it's done for commercial purposes, it is work. Do accountants think it's a "fun project" keeping financial records for a candy store? Gee! That sounds like a "fun project, Mr. Accountant! On a daily basis, I deal with two inexperienced young ladies — fresh out of marketing classes at the University of Whatever — in the corporate office of a small chain of supermarkets. In designing their weekly advertisements, I am relentlessly instructed to move a photo of a pile of pork chops to the left a little more..... a little more.... a little more.... a little more. Never mind. Delete it.

It is sad that a city the size of Philadelphia cannot support art education. Art is everywhere. Everywhere. And artists are responsible for that art. Mechanics of art can be taught, but an "artist's touch" cannot. 

You'll be sorry. You'll see. 

www.joshpincusiscrying.com

do you know where you're going to

It's June. I graduated from high school in June. Not this June, of course. A different one. One that was forty-four years ago.

I don't have fond memories of high school. I dreaded every day. I didn't like going there or being there. Despite the Jewish population of the student body tallying nearly 85%, I was subjected to my share of anti-Semitism. I wasn't an especially good student. I didn't bring home good grades. I experienced the ache of unrequited love and, conversely, avoided some female classmates who came on a little too strong for my liking. However, I met some people who, for four years, grew to be inseparable friends, but whose camaraderie waned post-graduation... only to re-connect decades later via the magic of social media. I even re-connected with some classmates with whom I wasn't particularly close. But, time is the great equalizer and once you breach your 60th year on Earth, you begin to understand what was meant by the old adage "life is short" and you finally see just how short it is.

A classmate
wearing the winning button.

Recently, a few silly "snapshots" from my high school days popped into my head. I recall in my sophomore year, an open solicitation to design the "official" Class of '79 button was announced. The winning button design would be mass produced and distributed among our class, where it could proudly (proudly?) be displayed on a shirt, jacket or other piece of clothing. Even back in my teenage years, my budding art career was beginning to emerge. Art classes were the only ones I attended with any interest. In other non-art classes, I found myself doodling in the margins of American History tests or lengthy algebra equations. I was somewhat excited at the thought of having my design grace the "official" button representing my class, having all 1100-plus of my classmates sporting a 3" metal circle of my original artwork. I made a bunch of sketches and after rejecting several preliminary ideas, I settled on a mystical-looking wizard waving his hand above a glowing crystal ball, with the phrase "Class of '79 - We Make It Happen" floating in a semi-circle above his pointed blue, star-spangled cap. I'm not one to brag, but it was pretty good for a 16 year-old. Unfortunately, the rest of my class did not agree. In lieu of my design, they selected a strange depiction of two silhouetted figures standing on a royal blue hill before a bright yellow sun (our school colors) along with the sentiment "Class of '79 Walks Tomorrow's Paths Today" in a swirly, hand-written font. I don't like to knock other artists' work, but there were other designs — that weren't mine — that were waaaaay better than the one that was chosen. I would have been okay with not having my submission chosen. Just not this one. In my opinion, it was poorly executed and the slogan didn't exactly roll off the tongue... and that's not just sour grapes. Although, I retained some keepsakes from my tumultuous high school years, my button currently rests at the bottom of the man-made lake beneath the roller coaster at Great Adventure amusement park in Jackson, New Jersey. Great Adventure was the destination of my year-end Sophomore Class Trip. A friend picked the button off my shirt and flung it skyward with the gusto of an Olympic discus thrower. I wasn't terribly upset.

A classmate
wearing the winning shirt.

My Junior year in high school brought about a similar art-related project. This time, the task was designing the Class T-shirt. This was a big deal. Everyone's wardrobe was comprised almost exclusively of t-shirts. Concert commemoratives, sports teams, "peace" signs held over from the 60s — t-shirts and jeans were the accepted "uniform of the day" throughout the 70s. Even those students whose wardrobe was influenced by the burgeoning disco trend could sometimes be spotted in a t-shirt emblazoned with a glittery iron-on decal. Once again, I repurposed my "also-ran" button design of the wizard. I embellished my original design with more stars, brighter colors and a more detailed main figure. Again, my design lost out to a reworked take on the cover of Steve Miller's Book of Dreams album. Done in the school colors, the shirt featured a near-identical to the album depiction of Pegasus surrounded by stars, beneath the words "Flying High" in capital block letters. I will admit, it was a good design. It certainly was good enough for Steve Miller. It just wasn't an original design. However, the school "powers that be" including the principal, several administrators and an English teacher who served as our "class sponsor," debated the insinuated "drug" overtones of the slogan and mulled over the message that it conveyed. After many heated "back-and-forth" squabbles, a compromise was reached. The slogan would be changed to "Class of Dreams" before the shirts went into production. I believe the designer played dumb regarding any potential drug reference in the original design, only to create a custom-made short run of the original design for him and his pot-head friends. He wasn't fooling anyone.

The next item on the class agenda was choosing a song as our Senior Prom theme. Traditionally, the "prom theme" is a ballad that accommodates slow dancing. A number of songs were nominated with Billy Joel's "I've Loved These Days" declared the winner. A track from Joel's 1977 album Turnstiles, "I've Loved These Days" expresses the heartfelt feelings of a man reflecting on his life's accomplishments — a fitting narration for the end of high school and, of course, an opportunity to hold your prom date close... however awkward. But.... just a few weeks prior to the prom, the same committee that forced the alteration of the class t-shirt, got around to actually reading the lyrics to "I've Loved These Days." Four verses into the unfeigned sentimentality, someone discovered the line "we soothed our souls with fine cocaine." Frightened that this single line would turn the innocent prom into a deranged orgy abundant with narcotics, a meeting was held. Then another. Until another compromise with the incorrigible Class of '79 was reached. Billy Joel's composition on reminisces would be replaced with Diana Ross's 1975 hit "Theme from Mahogany" — a song priggishly subtitled "Do You Know Where You're Going To." I believe the school administration was making a backhanded assessment of my class's actions up to that point. A day or so before my senior prom, there was an afternoon luncheon where speeches were made, awards were presented and yearbooks were distributed. A few of the more musically-inclined students performed for their classmates. One young lady brazenly treated us to a rendition of "I've Loved These Days" — waving her acoustic guitar in the air at its completion in sort-of last ditch exhibition of her middle finger.

In June 1979, my years-long stretch in public school came to a close. My rambunctious class caused its share of controversy through music selections and  t-shirt designs. We thought we were tough little rebels, going toe-to-toe with "the man" and doing our best to "stand our ground." Over the course of four years, there was a certain amount of shoving and name-calling and maybe even a physical scuffle or two. But no one brought a loaded gun to school and I never hid in a closet, huddled with classmates, silently fearing I would never see my parents again.

Maybe my time in high school wasn't as bad as I remember.

www.joshpincusicrying.com

love for sale

I suppose today's post on It's Been a Slice is the equivalent to an infomercial. For however long this blog has been raging on (it's been thirteen years, but who's counting?), I have referenced Mrs. Pincus's eBay store and the many places that have been my employer. Today, however, I offer a blatant plug for a little side hustle I got going. Perhaps you have seen it on Instagram or Twitter or Facebook if you are one of the tens of people who follow me and my internet antics. For those of you in the dark but still reading this far, I'll fill you in.

My first sale!
(No longer available.)

For the past few months, I have been selling t-shirts on a great website called TeePublic. I have been sitting at home, watching TV of contributing to my blogs (yes, that's plural. I have two) and wondering how I can make a few extra dollars from my silly little drawings and my slightly off-kilter sense of humor. I began to explore some options and decided that TeePublic's set-up made the most sense for me. One Sunday afternoon right around Thanksgiving, I created a few designs and selected a few drawings from my illustration blog (see? I do have another blog!) and uploaded them to my newly created storefront on the TeePublic website. Because I have a background in advertising and marketing, I also created a few graphics to promote my new business venture on several social media outlets. Almost immediately, I made a sale... giving me a false sense of security. It turns out, my first sale was to someone I knew. Nevertheless, a sale is a sale! I thanked her for her purchase and sat back, waiting for more sales to roll in.

They didn't.

However, I did get an email from TeePublic, that one of my designs was taken down for copyright infringement. A day later, I received a similar email and another one of my designs was removed. TeePublic is rampant with non-licensed designs of copywritten properties, yet I got busted right out of the gate. Still determined, I added a few more designs to my storefront. I chose designs of recognizable images and characters, trying my best to be discreet.

A few days after my first sale, I made two in one day. I began to think this little endeavor was gonna be great! Both, I found out later, were to someone else I knew personally.

Then, my entire store was pulled by TeePublic. Just four days after I "opened for business," I received this sad little email that began...

This is to notify you that, as a result of a violation of our terms and conditions, we have removed or disabled access to the material that appeared at www.teepublic.com/user/Josh Pincus and have deleted your account.

I stewed for a little bit, but I was determined. I rethought my approach and, with a different email address and a slightly altered name, I boldly relaunched my business as "JPiC Designs" on TeePublic. I scoured my website for drawings that I had done that were not overtly recognizable or could be altered so movies and names or references if they too drew much attention to a particular celebrity, movie or the like. I also began a series of illustrated song lyrics. Sure, that sounds like trouble in the making, but I was careful to select lyrics that did not mention a song's title. I figured these would appeal to true fans of a particular band. I also mixed in some famous movie quotes, again, careful not to use the actual title of the movie, but slyly employing recognizable typefaces and using images that could be.... well.... anything.... nudge, nudge.

I launched my TeePublic store 2.0 a week or so before Christmas. I made my first sale in the early weeks of the new year. I started the reboot with about two dozen designs and slowly added more each week. I have not bee sticking to any particular theme or style. I try to create what I think will sell, not necessarily what I like... but what the people will like. You know... give the people what they want! If you visit my storefront, you'll find movie quotes, song lyrics, goofs on famous works of art, silly drawings featuring both Jesus and Satan and a lot of designs depicting food.... because everybody like food. There are even a few designs aimed to please my fellow Philadelphians. Besides t-shirts, TeePublic offers a wide variety of other products, including hoodies stickers, buttons and mugs. Everything can be emblazoned with your favorite Josh Pincus created design.

So, there you have it. A word from our sponsor. Go take a look at what I have for sale. At last count, there are 240 different designs available. Some are drawings you may have seen on my illustration blog. Others are unique to TeePublic. I add new designs fairly regularly. Maybe there's something to fill that hole in your life you didn't know needed filling.

Or something like that.

CLICK HERE  >>>> JPiC DESIGNS TEEPUBLIC STOREFRONT

 

We now return you to your regularly scheduled blog post.

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

zombie jamboree

While attending the prestigious Parsons School of Design, 20-year old Robert Cummings from the tiny New England burg of Haverhill, Massachusetts founded a noise rock-heavy metal band called White Zombie. He chose the band name (it's the title of a Bela Lugosi movie) as a tribute to his love of horror films, kitschy pop culture and all things macabre and adopted the stage name of "Rob Zombie." The band's catalog includes songs like "Ratmouth," "Shack of Hate" and the lovely "Welcome to Planet Motherfucker," which, curiously, is rarely played at wedding receptions. He developed a persona to go with his new moniker (which he legally changed in 1996), striking an imposing figure in long, unkempt hair, intricate tattoos and conversation peppered with talk of horror films and characters. Alice Cooper and Ozzy Osbourne letting this snotty little upstart slide still doesn't sit well with me.

I am no fan of heavy metal, especially those bands whose lead singer sounds like an angry Cookie Monster over a bone-rattling bass line. I honestly can't tell one band in the genre from another. I'm sure that the leather-clad faithful would say the same thing about the Laurel Canyon contingency, but that's why there's chocolate and vanilla. That said, Rob Zombie is a pretty popular figure among that interesting intersection where hard rock meets Freddie Krueger. He is a platinum album recipient and a Grammy nominee. Obviously, Rob is a creative guy with an expertise (of sorts) in music.

Somewhere along the way, Rob decided to make movies. While I am not well acquainted with his music, I have seen Mr. Zombie's films. Well, not all of them... and the ones that I have seen, I haven't seen all of them all the way through. I watched his notorious House of 1000 Corpses alone. Was it great? I didn't think so. It had its moments. Filled with a troupe of players that would go on to appear in a number of Zombie's subsequent productions, House of 1000 Corpses came off as a loving homage to the cinematic career of William Castle, the so-called "King of the Gimmicks," who made a slew of movies in the 50s and 60s. They were low budget, questionably-acted affairs that were creepy enough to evoke chills and silly enough to evoke laughter. The late Sid Haig as the malevolent clown "Captain Spaulding," grimaced and mugged and did what Sid Haig did best. Zombie even got Academy Award-nominated actress Karen Black to join in the fun. The story was campy and silly and the blood flowed in rivers. Zombie knows his audience and, among those particular circles, it is viewed as a classic. The follow-up, The Devil's Rejects, was — in my opinion — unwatchable. This is based on the fifteen minutes I did watch. The Devil's Rejects ditched its "black humor" approach in favor of a presentation of what has become known as "torture porn," a cringe-inducing genre championed by director Eli Roth. I never got to see how The Devil's Rejects ended or even progressed... and I don't care.

Zombie contributed a faux trailer to Quentin Tarantino's Grindhouse epic, among entries by the afore mentioned Roth and Edgar Wright. Zombie's Werewolf Women of the SS was a funny title with a half-hearted, poorly-executed, instantly-forgettable concept tacked on. I saw it when I saw Grindhouse, one of Tarantino's weaker efforts.

I saw Zombie's foray into the realm of animation in The Haunted World of El Superbeasto. I only subjected myself to this because my friend April Winchell voiced one of the characters and the style of animation was reminiscent of  Tex Avery and John Kricfalusi (of Ren & Stimpy fame). I never made it far enough to hear April's voice acting. I made it approximately ten minutes — five less than I lasted for The Devil's Rejects.

Glutton for punishment that I am, I decided to watch Lords of Salem, Zombie's 2012 take on the spooky world of witchcraft. Starring Zombie's wife Sherri Moon Zombie, this mess was a convoluted mish-mash of creepy for the sake of creepy. All of the boxes were checked — a mysterious recording, a coven of naked witches, weird neighbors and a thin plot tacked on as an afterthought. The current Mrs. Zombie has been cast in ten films to date — nine of which were directed by her husband. She is the motion picture equivalent of Yoko Ono, Linda McCartney and Patti Scialfa. While her acting ability is questionable, her husband is indisputably famous. I stopped my on-demand viewing of Lords of Salem about halfway through with the intent of watching the conclusion at a later time. I did. Three weeks later. Don't ask me what this movie was about. I don't remember. Oh, and I saw Zombie's remake of Halloween. I hated it.

For years now, Rob Zombie has been threatening promising to bring The Munsters to the big screen. Zombie claims to be the beloved 60s sitcom's Number One fan. If he was truly the Number One Fan of the series, he would have let it be. Instead, he announced that he had written a full script and was scouting actors and locations. As expected, Zombie's fan base, chock full of head-banging horror fans — too young to remember The Munsters in first run and only familiar with reruns, remakes and reboots... the last two dubious in their own right — were unsurprisingly ecstatic. "Rob Zombie's Munsters will be great!" they proclaimed on social media. Of course, the overwhelming majority of fans, tired of Hollywood rehashing and "reimagining" their childhood, were rightfully leery of the undertaking.

Zombie's progress on The Munsters was chronicled in great detail across social media. Instagram, Twitter and Facebook were alight with "behind-the-scenes" photos and "script leaks." There were shots of make-up tests and stills of the iconic Munster homestead as it would appear in the pending feature. The film's stars were soon announced with Sherri Moon Zombie (of course) in the role of "Lily Munster," level-head matriarch of the family. Jeff Daniel Phillips would be portraying the childlike "Herman Munster." Phillips, whose previous work includes a caveman in a series of GEICO commercials and a subsequent TV show based on the ads, is a regular player in the loose Rob Zombie repertory company. Rounding out the cast is Daniel Roebuck, a busy character actor who gives his all in every role he takes, big and small. (I wrote about Daniel here.) 

After many, many months of teasing, it was confirmed that Rob Zombie's self-proclaimed labor-of-love masterpiece would debut on the Netflix streaming service in the final week of September 2022. Scores of folks who had never seen a frame of footage began the debate. "It'll suck!" and "It'll be great!" and everything in between were splayed across the internet until premiere time arrived. I admit, I was curious. I asked Mrs. Pincus if she had any desire to watch it. Admittedly, she was not a fan of the original show, but she offered a non-committal answer. "I'd be happy to sit next to you on the sofa while you watch it.," she said. Well, it wasn't a "no."

So, I (we) watched last night.

Remember when Hollywood remade The Flintstones as a live-action movie? Sure it stunk, but we all got a good laugh and a feeling of satisfaction when John Goodman made his first appearance in that familiar spotted orange one-piece and bellowed his first "Yabba Dabba Doo!" Well, I wasn't afforded that satisfaction. Jeff Daniel Phillips, who I barely remember from Lords of Salem, is, by no stretch, a big enough name to warrant the "oh isn't that funny" reaction reserved for Warren Beatty as Dick Tracy or Anjelica Huston as Morticia Addams. Sherri Moon Zombie seemed to have conceived her entire portrayal of "Lily," after only watching the opening sequence of the TV Munsters. ("Yeah, that's all I need to see. She makes a lot of hand gestures and says 'oh!' a lot. I got it. Besides, my husband is directing this picture!") Only Daniel Roebuck treats his character with respect, thoughtfulness and insight. He is doing a dead-on Al Lewis pastiche. Sadly, the material he is given to work with is subpar. The dialogue is uninspired and lazy. I found the entire production lacking in humor or scares or any sort of combination of the two. Was this supposed to be a comedy? Was it a horror movie? I'm not sure what the goal was. I'm not sure that "superfan" Rob Zombie knew where he was headed. It's nothing. It's a bunch of Rob Zombie's friends saying a bunch of words that Rob Zombie wrote. Everyone (with the exception of Daniel Roebuck) is phoning it in... on a  ten-year old cellphone with a shattered screen and one blinking power bar left. 

But, oh, I stuck with it. I don't know why. I think I silently hoped it would get better. It didn't. As a matter of fact, it got worse. I kept waiting for Eddie or Marilyn* to show up, two important pieces of the TV show's central cast. They never did. Granted, the story was framed as a prequel to the events depicted in the series. But, that's like making a big screen version of Laverne & Shirley and leaving out Squiggy and Carmine Ragusa. (Gosh! I hope no Hollywood producer read that.) 

Someone online compared Rob Zombie to a modern-day Ed Wood. They cited his penchant to use the same group of actors in his films, his questionable choices and slap-dash style of storytelling. The difference between Zombie and Wood is Zombie's film's have zero "warmth." Ed Wood was trying his very best to be like his hero Orson Welles. Unfortunately, Ed Wood didn't posses a sliver of Welles' talent, creativity, innovation, production values or acting ability. But, he tried. With shoestring budgets, Ed Wood did his darndest to make — in his eyes — meaningful pictures of merit. Of course, he failed miserably, but he created unintentional entertainment. Zombie, on the other hand, is his own hero. He is also happily entrusted with substantial budgets. The Munsters is estimated to have cost nearly $1.5 million. His sets, while deliberately grungy, are actual movie sets. He has shot films on foreign locations. (The Munsters was shot primarily in Budapest.) However, it is money that has been squandered. Zombie wishes to make films that "look cool," but not necessarily "are cool." His scripts make sense to him, but he leaves out important details that  allows the audience to follow along. Without giving anything away, there is a plot hidden somewhere in The Munsters. It's about ten-minutes worth of hackneyed story buried under 110 minutes of garish lighting and smoke machines.

If I can offer a bit of praise to Rob Zombie's The Munsters — for a movie whose source material was in black & white, it sure was colorful.

Note: This should be taken as neither a recommendation or discouragement of Rob Zombie's The Munsters. You may like it. I did not.

*Pat Priest, one of two actresses who played "Marilyn Munster" on the TV series, makes a short cameo in a voice-over. She is not seen onscreen.

www.joshpincusicrying.com

end of the line

I work for a commercial printer that produces advertising circulars for retail stores — mostly supermarkets — across the country. In addition to guys that run the actual printing presses and folks who design and layout the ads (like me), my employer also employs a team of salespeople to acquire more business. It appears to work. In the short time I have worked there, we have picked up several new clients. Just this past February, we began producing circulars for a small chain of gourmet supermarkets whose locations spread across northern New Jersey and into Long Island, New York. Without mentioning them by name, they operate on a similar level as the famed D'Agostino's, the popular chain that has served Manhattan since the 1930s. I have done advertising work for a lot of retail customers over the past 40 years. While I can't make a fair comparison to D'Agostino's (because I have never done work for them), in comparison to other retail chains, our newest customer is unorganized, scatterbrained and chaotic. In other words.. typical.

In an effort to conceal any identifying 
characteristics of the company in question,
here is a picture of a duck.

When we began our business relationship, my boss and I got on a Zoom call with members of their marketing team. Through the magic of the internet, we "met" the inhouse design staff at the chain's headquarters. There were two guys — a talkative fellow named Michael and a quieter guy named Kevin. Michael explained that information, comments, instruction and the electronic delivery of specific artwork would be made via an online tool called Ziflow. Through this ingenious tool, we were sent fully-designed pieces of art and copy that could just be dropped in to the ad we were working on. These little images were created by either Michael or Kevin. They could be a banner offering a sale on deli meats or a larger image announcing a special in their seafood department. Bottom line, the more pre-composed art we were supplied with, the less composition work I had to do.

We received comments regarding placement of ad elements, product substitutions and other pertinent information from someone named Emily in their Marketing department. Until we didn't....and we were informed that Emily was no longer with the company.

After a month or so (that's six weeks of ads), we stopped receiving art or any type of correspondence from Michael. Everything came exclusively through Kevin. One afternoon, we learned that Michael had been fired. "Oh well," I thought, "Things happen." 

Kevin stepped up his game and supplied us with art, required product photos and other information. After two weeks of Kevin flying solo, another Zoom meeting was scheduled so we could "meet" Will, who would be Kevin's assistant. Our virtual meeting lasted just a few minutes. We greeted Will and offered a friendly "Looking forward to working with you" to our new contact.

Approximately three weeks after "meeting" Will, my boss got a strange email from Kevin. It originated from a domain that was not the supermarket company's. Kevin explained that he no longer had login credentials to the Ziflow account and that he would be sending all correspondence through this email. Later that very same day, my boss was informed that Kevin had been fired and we should cease all interaction with him.

Will was now supplying graphic that had once come from Kevin and Michael before him. Will's work suitably mimicked the company's branding, however, Will's spelling was atrocious. We regularly received replacement art for graphics downloaded only minutes earlier because of a spelling error. Sometimes the same graphics would be replaced three or four times because of typos. Will also was very lax in his response time. Often several hours would pass before he would answer a simple question. Other times, his answers were incoherent and didn't apply to the question being posed. 

A week of "Will on his own" passed when we were told about Jake. Jake would be assisting Will. Efforts to schedule a virtual introduction with Jake never came to be, and although Jake was CC'd on all correspondence and  emails, he never responded to anything. We couldn't actually be sure that there was a Jake. We continued to work with Will — struggling with direction, frustrated by lengthy response time and replacing and re-replacing mistake-ridden artwork.

On Friday morning before the long Labor Day weekend, I was finishing up a list of corrections I received for the supermarket ad before its scheduled print date on the Tuesday we would return to work. Will sent me a requested photo of a pumpkin pie for the "Bakery" section, as well as a few price changes to items already appearing in in the ad.  Somewhere around 2 PM on Friday, as my workday was drawing to a close, my boss informed me that Will was no longer with the company. I had just sent a proof to the Director of Marketing hoping to get an "approval to print" before the day ended. Instead, the director told me (via email) that he would spend the weekend studying the ad and offer his approval on Tuesday.

He never mentioned Will. Or Jake.

If there even is a Jake.

www.joshpincusiscrying.com