the impression that I get

I have told this story many times, so I'll tell it here...

Many years ago (probably in the middle 1980s), My wife and I were in Atlantic City with our friend Randi. (You remember Randi...) We were at Caesars Casino on the famous Atlantic City Boardwalk. Atlantic City, New Jersey is a little over an hour away from Philadelphia, so it was not unusual to drive to the famed shore resort for a day trip. We would often go for dinner, a stroll on "the boards" and then into one of the casinos to try our luck at instant riches. That third one never quite came out the way we had hoped, despite our most courageous efforts.

As the evening progressed and we felt it was time to start heading home, Mrs. P and Randi needed to make a quick stop at the closest ladies' room before we left on a lengthy car ride. The parking lot at Caesars was accessed via a long narrow hallway from the casino. It had an unusually low ceiling and the width of the corridor barely accommodated four people across. (Over the years, several building renovations have changed this.) Mrs. Pincus and Randi located the rest room and I stood alongside the doorway to wait for them. To entertain myself, I watched the interesting faces in the crowd as they passed by in relatively close proximity. There were old people, young people, short people and tall people. There were men in three-piece suits accompanied by women in sparkly gowns. These couples were followed closely by disheveled-looking fellows who looked as though the last place they should be was a casino. 

I smiled to myself as this cross-section of society paraded by me. Then, in the crowd, I spotted a familiar face, one I had seen on television numerous times. It was comedian Charlie Callas. He was a staple performer on television in the 60s, 70s and early 80s. He made 50 appearances on The Tonight Show with Johnny Carson, as well as The Ed Sullivan Show, Merv Griffin's show and the full roster of variety shows that were so popular on the 1970s. Charlie was a regular on the Dean Martin Celebrity Roasts, often showing up in military garb and doing as dead-on impression of show biz patriarch George Jessel. Charlie was known for his rubber-faced mug and the barrage of strange noises that he would inject into his stand-up routines. Folks like Jerry Lewis and Mel Brooks loved his act so much, he was cast in films like The Big Mouth and High Anxiety just to play upon the recognizability of his stage act. On television, he was seen in The Monkees, The Flip Wilson Show and singer Bobby Vinton's short-lived series, in addition to a Carpenters special. He even popped up on an episode of The Love Boat and also provided the voice for the animated Elliot the Dragon in the Walt Disney film Pete's Dragon. If you are of my generation, you knew who Charlie Callas was. 

Well, I certainly knew who Charlie Callas was. And there he was, walking past me wearing dark glasses and a terrycloth bucket hat pulled down to his brow. Evidently, he was trying to conceal his identity, but there was no mistaking that it was indeed Charlie Callas. Curiously, not a single person pointed or whispered or acknowledged him in any way. No one but me. I smiled to myself a little wider.

Soon, Mrs. Pincus and Randi emerged from the ladies room. As we continued to walk to the parking lot, I mentioned that I had just seen Charlie Callas walk past me in the crowd. They both stopped, and with jaws agape, simultaneously exclaimed, "NO, YOU DID NOT!," as though they had rehearsed it. Now, I stopped... and scratched my head. 

"Why would I make that up?," I asked. "Do you think I'm trying to impress you? It's not like I said 'Hey, I just saw Frank Sinatra!' It was Charlie fucking Callas! The guy who sticks out his tongue and makes funny noises. That's not impressing anyone."

They both kind of sheepishly smiled. We found ourselves at the building's exit. I opened the tinted glass doors and we stepped outside. At a taxi stand, about ten feet away from us, wait for a cab, was Charlie Callas. I pointed at him. "See?," I said to my companions. Again, we were the only ones looking in his direction.

We didn't say "Hello" to him or ask for a picture (actually, in the days before cellphones, who carried a camera?) or even request an autograph. We just looked at him. And he was still Charlie Callas.

And then we went to find our car.

www.joshpincusiscrying.com

keep telling that same dumb joke 'til we both think it's funny

I have always loved watching stand-up comics. I remember how cool it was staying up late to see Don Rickles or Buddy Hackett of The Tonight Show. Watching them deliver a few minutes of anecdotal shtick and spotting Johnny Carson in the shadows, bent over his desk in hysterics, always made me laugh. I enjoyed The Ed Sullivan Show and his knack for mixing up-and-coming comedians with the respected names of the field. George Burns and Jack Benny shared a stage with George Carlin and Richard Pryor. Even though the humor was from opposite ends of the spectrum, it was all funny.

When I got older, I was able to go to see comedians in local clubs. My favorite was "The Comedy Works," a cramped, narrow room two flights above a Middle Eastern restaurant (aptly name "The Middle East") in the historic district of Philadelphia. For under ten bucks, you could see an emcee, three warm-up comics and a headliner of some note. At different times over several years, I saw Bob Saget, Jackie "The Joke Man" Martling and Tom Wilson (a year or two before he went on to play "Biff" in the the Back to the Future trilogy). One night in the early 80s, the billed headliner was Richard Jeni, fresh from a few appearances on The Tonight Show. Before Richard took the stage, a young man performed... and he had the entire place rolling in the aisles with laughter. He was so funny that everyone missed parts of his routine because they were unable to be heard over the laughter. When poor Richard Jeni began his act, no one was paying attention. Everyone was still laughing and talking about the young man who had preceded Mr. Jeni. The young man was named Eddie Murphy.

The Comedy Works also featured an "Open Mic" Night. At these mid-week, marathon shows, patrons paid just a few dollars to sit and watch a combination of club regulars trying out new material and amateurs taking a stab at a possible career path. I went to "Open Mic" nights often with my friends. Most nights were pretty uneven with average Joes delivering poorly written, unfunny material. Their few minutes in the spotlight seemed like hours and their embarrassment was palpable. Then a pro would take to the stage and bring the meager audience back to life before the next human anchor would drag the waning crowd down again. After attending a few "Open Mic" Nights, I was persuaded by my friends (my drunk friends) to make an onstage attempt at stand-up comedy with words of encouragement like, "You're funnier than these assholes!" Not one to balk at a challenge..... who am I kidding? I balk at a lot of challenges. But, in this case, I answered the call. Over the course of five months, I observed everything that went on around me and wrote down everything, hoping something would be funny. When the big night came, I stocked the audience with friends and family. The show started at 9. I went on at midnight. By this point, the audience was hammered. I could have read the Yellow Pages aloud and got laughs. Honestly, I did not bomb, but I never made a return engagement, labeling my one-and-only foray into the world of stand-up as "Mission Accomplished" (and not in the George W. Bush sense).

I love watching comedians on TV, but lately I have been disappointed by the recent crop of comics. It seems to me that a great many are just not funny. Or ones that were funny are no longer funny. My biggest complaint is the way comedians are presented. There's an audience filled with people sitting and waiting for a funny person to come on stage and be funny. It is implied "This is a comedian, therefore, he is funny and you must laugh because that is what you do when you see a comedian." Then, they proceed to go on for an hour and offer five, non-consecutive minutes of funny material. But, if you watch the reaction shots, the audience is hysterical for the duration.

In the last few years, I've been to comedy clubs in Philadelphia, where I saw one funny headliner and a gang of lame warm-up acts. Ben Bailey, the host of the TV game show "Cash Cab," was very funny, but the supporting acts elicited crickets from the audience. Emo Phillips (admittedly an acquired taste) was great, but the opening comics were awful.

I have seen recent stand-up specials by Jim Gaffigan, a comedian I once thought was really original and very funny. He is no longer funny and his "I'm fat" shtick is repetitive and not amusing. I have seen Patton Oswalt, whose last special started and ended with a bang but the forty-minutes in the middle were totally forgettable. I watched Demetri Martin, who I thought was very funny — but not for as long as his special's entire running time. I saw Norm MacDonald, who I thought was surprisingly good, but I can't remember any part of his act. I saw T.J. Miller, who I loved on HBO's "Silicon Valley," but I couldn't make it past the first five minutes of his painfully manic and unfunny performance. Recently, Mrs. Pincus and I watched Ellen DeGeneres's new Netflix special — her first in sixteen years. I always liked Ellen's irreverent routines on Johnny Carson's show and previous specials, but this one was disappointing. It was very uneven and her overarching premise of "now I'm rich" wore thin after a while.

Other comedian's specials have been recommended to me, but I have to admit, I am a little gun-shy. I don't want to invest an hour of my time watching a comedian who is not funny. They have one job —to make me laugh. Instead, many have become preachy and introspective and unnecessarily philosophical. You wouldn't go to a dentist and sit in the chair to have your shoes shined, would you? (Wait, the way some people fear dentists, perhaps that is a poor analogy.) I guess I'll have to scroll endlessly through the selections on Netflix, HBO and other entertainment offerings to find that elusive comic that will just simply make me laugh.

Or maybe I'll just watch the old-timers on YouTube. Although, they're sometimes not even as funny as I remember.

Hmmm.... maybe it's me. 

Now that's funny!

www.joshpincusiscrying.com

open the door, richard

For however long I have maintained a Facebook presence, I have posted the death anniversaries of notable (and not so notable) people on a daily basis. Each morning before I make breakfast for myself, I scan the dark corners of the internet and select a group of folks whose common bond is the day they took their final breath and joined the choir invisible (as George Eliot so eloquently put it). I find a suitable photo and post it along with the simple, non-descriptive line: "So and so died on this date in this particular year." It's up to the reader (one of the 244 faithful who have chosen to "like" Josh Pincus is Crying) to Google the name to find out more, if they so choose. Hey, it's a hobby. Just like collecting stamps. Sort of.

I also post current celebrity deaths as soon as I can confirm information of their demise. Now, my criteria for "celebrity" varies greatly. Of course, a famous actor or actress, politician or sports figure fits the bill. But, I have also included those with lesser-known sobriquets but well-revered significance in the world of pop culture. Last February, for instance, just a week prior to the passing of Supreme Court Justice Antonin Scalia, one Mary Fiumara, died at the age of 88. Ms Fiumara was prominently featured in a commercial for Prince spaghetti that ran for 13 years. In April, Lee Waas passed away at 94. He wrote the happy little jingle that blared out of loudspeakers mounted on the roofs of Mr. Softee trucks, announcing the welcome arrival of the ice cream man. Though I have been obsessed with celebrity deaths for years, I have taken my little hobby to the internet in an effort to keep better track of the demise of famous people and to bring the information to a wider audience. I have "met" (in internet terms) many people who share my interest, thus giving me a bit of validation. So, I will continue.

Just this week, I acknowledged the passing of a character actor named Richard Karron. Karron was a stand-up comic who was performing at New York City's famous comedy club Catch a Rising Star, when actor Dustin Hoffman took a liking to his routine. Through this connection, Richard began getting bit parts in television and films based on his distinctive, gravelly voice and boisterously fun personality. He appeared in television dramas and sitcoms, as well as taking small roles in Mel Brooks' History of the World, Part I and Anne Bancroft's slapstick but endearing Fatso, her feature-length directorial debut. In addition, he was in a series of commercials on TV and radio for the regional auto parts chain Royal Auto ("We're Sens-a-tive!"). Karron was a member of the Screen Actors Guild for 35 years, yet his name remained mostly unknown. Well, Karron fit the profile of the type of unsung "celebrity" I like to remember and when I discovered that he passed away on March 1, 2017, I let the internet know that I knew who he was.

I never anticipated the shit storm it would unleash.

At 1:20 PM, on a day nearly two weeks after the fact, I posted an innocuous, "Josh Pincus"-style death announcement for Karron on my Facebook page, like I've done hundreds of times before for similar-level celebrities. The "likes" and comments began almost immediately. First was my pal Steve, who joins me in my love for pop culture and forgotten celebrities. In his initial comment, he reminded me of Karron's Royal Auto commercials. Next came a "thumbs up" from my wife. An hour or so later, a fellow named "Gimmi" commented that Karron had lost a significant amount of weight. It's true. In his early career appearances, Karron cut quite an imposing figure and, based on the type of role for which he was cast, his size was an attribute. In more recent photos, he looks as though he had shed a good portion of his bulk.

Now, for those of you who do not know me personally — I am a bit of a smart-ass. No, actually, I'm a lot of a smart-ass. It's just my nature. I have been known to make jokes at "supposedly" inappropriate times. But that's the beauty of being a natural smart-ass. There are no inappropriate times. Nothing is sacred and everything can be funny. I have done my very best to have that aspect of my personality come across on my blog and, for the most part, I think I've been successful. I try to be funny any chance I get. And, if you don't think I'm funny, rest assured, I think I'm funny and that is what's important. So when Gimmi made his comment about Karron's weight loss, I couldn't resist. I replied:

Well, Steve thought it was funny. Of course, I thought it was funny. Mrs. Pincus, who has been my best audience for the last 35 years, thought it was funny. But, alas, Valerie, in The Beach Boys hometown of Hawthorne, California, didn't see the humor at all. As a matter of fact, I must have struck a nerve, because her outrage prompted her to tell me (with Gimmi in her corner): 

See, this is the stuff I live for! This is what makes the internet the greatest invention since... since.... well, ever! I insulted someone I never met, on the other side of the country with a joke that, technically, she had to search for. (I checked. Valerie is not currently a "Facebook follower" of mine. I guess I've blown that chance now.) I love getting comments on my blogs (this one and my illustration blog), especially negative ones. Sure, I appreciate the ones that tell me how wonderful I am. But the ones from readers that have been offended by something I've drawn or written (or both) are the ones I cherish and remember. It's the angry ones that tell me someone took the time to really study what I have produced and, instead of dismissing it as just another blemish on the face of the internet, they took the time to let me know how abhorrent they found my work. Now, that's a sincere commitment! So, imagine my excitement when this little exchange popped up under my original announcement for poor Richard Karron.

Steve joined in my elation and I offered another snide comment to all participants. Valerie, however, was not amused. As an alleged personal acquaintance of Richard Karron, she found my retort repugnant and Steve's accolade equally deplorable. (All claims to close relationships to celebrities — no matter what the level of fame — is "alleged" on the internet. Unless the claim can be backed up or is made by me.) Plus, Karron began his career as a stand-up comic working in small clubs delivering gritty material. I can only assume that he either heard or told jokes of a similar edgy tone.

My mom taught me to laugh at everything. I get my subversive sense of humor from her. My mom died 26 years ago and I have joked about her death on several occasions. It doesn't mean I am disrespecting her memory. On the contrary, with every snarky comment, I am keeping her memory alive.

Oh, this is not the first time I got into a "back and forth" with a total stranger on the internet. I don't think it will be the last, because you never know what benign statement will set someone off. Since the internet is so vast, coupled with the protection one gets from commenting under the guise of anonymity, these usually reserved voices are riled up without much effort. The more riled they get, the more likely they are to tell me exactly how they feel. 

And that makes me love the internet more and more every day.

www.joshpincusiscrying.com

I just died in your arms tonight

I met Taylor Negron in 2012, after being a fan for many years. "Who?" you may ask. Well, I'll tell you.

He's that guy. You know, that guy. He's been in everything. He was the pizza delivery guy who brought a pie to Sean Penn's classroom, much to the chagrin of irate teacher Ray Walston in Fast Times at Ridgemont High. He played Rodney Dangerfield's slimy son-in-law in Easy Money. He appeared as "David Montagne," the uptight, prissy guardian of Joseph Gordon-Levitt in the Disney remake of Angels in the Outfield. He took a turn as the villain Milo in the action flick The Last Boy Scout. On television, he had roles in ER, Friends, Seinfeld (as Elaine's hairdresser), and a bunch of other shows you never heard of. Taylor was a regular in the short-lived series Detective School and the post-Full House Olsen Twins series So Little Time. (Yeah, me neither.)

Taylor was a playwright and a painter, as well as a stand-up comedian. That's where I first took notice of his talent. I used to regularly patronize a comedy club in Philadelphia, where I saw numerous up-and-coming comics. Some went on to "bigger and better" (Eddie Murphy, Richard Jeni, Jackie Martling) and some never got further than that little Philadelphia stage. One evening, I happened to be at a restaurant on the same street as the comedy club, although I did not attend that evening's show. I was leaving dinner as the comedy show was also letting out and I recognized Taylor Negron crossing the street. I hollered, "Hey! Taylor!" He looked up at me and waved, then continued on his way. I really didn't expect him to do much more than that.

Years later, I attended another in a long line of collector shows that I have been known to frequent. Although this show had a monster/horror theme, Taylor Negron was making an appearance, despite the lack of horror-related films on his long resume. I entered the big conference room and scanned the different tables and displays for a sign of Taylor. He was in a far corner between William Forsythe (another actor with a character resume as long as your arm) and one of the guys who played the adult "Jason Voorhees" in a double-digit Friday the 13th sequel (sitting behind a table covered with glossy photos of someone in a hockey mask; for all anyone knew, they could've been pictures of Bernie Parent). Unlike the other "celebrities," Taylor was not sequestered behind a table, cordoned off from the public. He was out in front, mingling, joking and laughing with the conventioneers. I waited patiently for his autograph, getting in line behind a guy with whom Taylor was enjoying a lively banter. Because of my close proximity, I couldn't help but overhear their conversation. I heard Taylor make a reference to actor Steve McQueen, to which I rudely interjected, "I don't know how to break this to you, but Steve McQueen is dead." Taylor looked right at me, a solemn, mournful expression on his face.

"I know." he said, "He died in my arms." He paused. Then, he grinned. Then, he burst out laughing.

When my turn came to speak one-on-one with Taylor, I related the story of calling to him across the street all those years ago. He laughed and said he remembered (he didn't) and explained that he had told me "go fuck yourself," but I guess I didn't hear him. He laughed again and threw a friendly arm around my shoulders. He graciously posed for a photo with me and signed an 8 x 10 from Easy Money, inscribing the shot "Can I call you Dad?," a reference to his character in the film.

I spent less than ten minutes with Taylor Negron. He seemed like a genuinely nice guy. Based on his body of work, he seemed like a reliable guy and dedicated to his career. And really funny.

Taylor passed away January 10 at the all-too-young age of 57. I'm glad I got to meet him.

www.joshpincusiscrying.com