strangers stopping strangers, just to shake their hand

I am very disappointed. Not surprised, but disappointed.

June has been designated as Pride Month — unofficially — since 1970, when four US cities held pride marches to commemorate the one-year anniversary of the riots (and subsequent victory for gay rights by the gay community) at the Stonewall Inn in New York City. In 1999 — more than a quarter of a century ago — President Bill Clinton issued a proclamation naming June "Gay and Lesbian Pride Month." In 2011, President Obama expanded the recognition to include the entire LGBTQ+ community. Since then, Pride Month has been recognized and celebrated by individuals — both gay and straight. Corporate America jumped on the potentially lucrative bandwagon, incorporating the ubiquitous rainbow flag into their logos and product labels, in hopes it would A. display their support for the gay community and B. put them in line for a quick boom in business. Whatever ulterior motives big companies had, their hearts (if corporations have hearts?) seemed to be in the right place.

Lately, there seems to be a wave of unprovoked and unfounded hate washing over our country. I'm not saying that hate disappeared and then suddenly reappeared. The hate has always been there. It just appears that people have become more brazen, more vocal and more venomous in the age of the internet and social media. Behind the anonymity of a Facebook account or an X handle, folks spew the most vile, narrow-minded, fear-induced rhetoric without concern for possible repercussions. I've seen social media posts (and comments on posts) that reveal the most backward-thinking, prejudiced sentiment that I mistakenly thought was on its way out as my parents' generation dies off. I am really shocked (and disappointed) that people of my age — or younger — still maintain the bigoted ideals of a shameful time in our country's history. I really hoped we were headed in a better direction.

There was one group I thought was exempt from this parochial mindset. Deadheads. Turns out.... I was wrong.

The Grateful Dead has not existed for thirty years. (Don't count The Other Ones, Dead & Company, Furthur, the Rhythm Devils, Phil Lesh and Friends, RatDog, Billy & the Kids or any other offshoot assembly of former and fringe members of the original band.) The fans of the Grateful Dead — Deadheads — have always presented themselves as free-spirits. They promoted love, kindness, peace, cosmic consciousness and all that other hippie philosophy — long after the first generation of hippies started wearing suits and ties and working in the corporate world. Hoards of fans — too young to have experienced the psychedelic "love-in" vibes of the band first hand — have proliferated the message of brotherhood (and sisterhood) for decades after the demise of Jerry Garcia and his colleagues, through bands like Phish, Umphrey's McGee and other "Grateful Dead"-ish bands. Still, thirty years later, they sport joyful tie-dye clothing and flash the peace signs in photos splashed across Instagram, Facebook, TikTok, Snapchat (is that still a thing?) and other internet platforms with which I'm unfamiliar.

And just like Pride Month, several companies have jumped on the Grateful Dead's monetary bandwagon to capitalize on the band's popularity, legacy and image. Grateful Dead merchandise is still a hot commodity. Whoever controls the band's interest has licensed the familiar iconography for inclusion on t-shirts, stickers and hundreds of other items. (As KISS's Gene Simmons once said "Anything that can have KISS on it, should have KISS on it." Obviously, the marketing department of Grateful Dead Enterprises have sat up and taken notice.) I'm not knocking this practice. Oh no! Anywhere there's a buck to be made — have at it, I say. I'm just stating a fact.

One of the many licensees of Grateful Dead merchandise is a small company called Grateful Fred. Grateful Fred started in 2020 as a way for its founder to display his love of the Grateful Dead on his electric car. Soon, his company was producing well-crafted metal badges in a variety of Grateful Dead symbols that could be permanently adhered to your vehicle just above the manufacturer's factory-applied badge, where it would seamlessly and subtly integrate.

Like this....

Pretty clever, huh?

In its short existence, Grateful Fred has extended their line to include stickers, barware, badges for water bottles and cellphone cases and keyrings. They have evidently garnered a pretty large customer base, likely comprised of holdover Deadheads now in possession of expendable income, thanks to pensions as they reach the age of retirement and their dependents have moved out on their own. The badges are not cheap — running between ten and thirty dollars apiece. Just this year — this month, as a matter of fact — Grateful Fred introduced ten products in their "Pride Collection," including the iconic "Steal Your Face" logo with a bold rainbow background. Measuring almost two-and-a-half inches in diameter at a cost of thirty bucks, this little metal badge can easily be mounted on your Volkswagen microbus to let the world know you are a proud dual member of the Grateful Dead and LGBTQ+ communities — or an ally thereof. Pretty sweet, if I say so myself. And something that would surely be welcomed among the loving, inclusive Grateful Dead fold.

You would think

The post announcing the Pride Collection on Grateful Fred's Facebook presence was flooded — flooded! — with a plethora of comments expressing anger, disdain, and — most surprisingly — homophobia. Comment after comment showed unabashed hatred for Pride Month, gays and, now, Grateful Fred. Many declared they would never purchase another item from the company. Others dismissed the LGBTQ+ community as "bullshit," "sad," "mentally ill," and a variety of equally misguided, uninformed and repugnant labels. A few said "Go woke and go broke!" as they, once again, totally miss the point of what "woke" actually means. Others wondered when "Straight White Male Month" will be celebrated, turning a blind eye to the fact that straight, white males are celebrated everyfuckingwhere you look! Still others questioned why someone's sexuality should be celebrated, as they continually post photos of themselves hugging their wives and kissing their girlfriends. What are straight people so afraid of? They've been in charge for like.... ever!

I have seen similar posts on other company websites and Facebook pages regarding their support for Pride Month or the gay community in general. But.... from Deadheads? Really? A group that allegedly prides (no pun intended) itself on love and loving and spreading love. I suppose hate is just everywhere and nothing is immune from its infestation.

I am disappointed. Not surprised, just disappointed.

www.joshpincusiscrying.com

welcome back my friends to the show that never ends

Greg Lake's
Bar Mitzvah 'do

I loved Emerson, Lake and Palmer... when I was 13. A friend from school introduced me to the 1973 progressive rock classic Brain Salad Surgery almost a year after its release. I remember sitting in my pal Bobby's bedroom, in front of his stereo, positively mesmerized by the otherworldly sounds emanating from the speakers. I was accustomed to the pop of The Jackson's Dancing Machine, Terry Jacks' clawingly sad elegy Seasons in the Sun, George McCrae's pre-disco Rock Your Baby and the inane "ooga-chucka"s of Blue Swede's take on Hooked on a Feeling. In comparison to the three-minute ditties I heard on the radio, Emerson Lake and Palmer were positively empyrean. Bobby also commented that he wanted to get his hair cut for his Bar Mitzvah in the style that Greg Lake sported in a photo included in the album package. But it was the music that got me hooked. I went right out and bought a copy of the album for my very own. 

I played my copy of Brain Salad Surgery over and over and over. I loved it! The songs spanned a variety of styles, although they all seemed to complement each other. There were ballads and traditional madrigals and even a bawdy skiffle tune. It was all capped off with an epic, three-part pseudo symphony, chockful of Keith Emerson's signature synthesizers, Greg Lake's soaring vocals and Carl Palmer's inventive percussion. 

But, alas, my interest in Emerson, Lake and Palmer was short-lived. In the Summer of 1974, I discovered Queen and there was no looking back. Freddie Mercury and company — in my limited teenage opinion — were the epitome of innovation and experimentation. By the time the 70s ended, Emerson Lake and Palmer had gone their separate ways and I was entering my new wave and punk phase of musical interest.

As a white male in his 60s, I grew up in what is now looked back upon as the "classic rock" era. Okay, maybe I'm on the young side of that era, but, still, I was in the thick of it. To be honest, I loathe the classic rock era, with only a few exceptions. I still like the stupid bubble-gum pop of one-hit wonders like Reunion and  Paper Lace (ahhhhh.... Paper Lace....!). But, I cringe at the reverence that "classic rock" unjustly thinks it deserves. Well, maybe not the music itself. I suppose it's the fans of classic rock. The unwavering, narrow-minded, opinionated cranks that just know that "classic rock" is the greatest music ever produced. The ones that angrily try to convince the members of subsequent generations that they should be listening to classic rock and the music from their actual youth is frivolous and unimportant. Of course, their campaign is bolstered by the regular parade of classic rock-era bands that trot themselves out for a national tour with one original member and a subsidy of recruited musicians who weren't yet born when the band in question was enjoying the adoration of their youthful fans. (I experienced this at a recent show I attended purely as a social experiment and to get a blog post out of it.)

"Is this bloody thing on?
C'mere and help granddad
with this, luv?"

A few days ago, I was mindlessly scrolling through the "Reels" on Facebook. Between the brief clips of stand-up comics, mouse-eared folks traipsing through Disneyland and cats climbing up curtains, the algorithm powers-that-be saw fit to stick in a promo video for an upcoming performance by.... um.... Emerson, Lake and Palmer. The video, shot from the unnatural angle of a nasal cavity examination featured an older man that I swear I just saw picking though low-fat yogurt in the refrigerated section at Aldi. In a weak and scratchy British accent, this bloke implored the viewer (in this case, me) to come see him at the historic Levoy Theatre in glorious Millville, New Jersey. He revealed that for an extra fifty bucks, you could participate in a  Q & A session, as well as pose for an exclusive photo with him and his band. It turns out this older gentleman with the thick-lensed glasses and gray crewcut was none other than Carl Palmer. The video looped again and he repeated the details of the performance by Emerson, Lake and Palmer. I was puzzled for a moment. After all, keyboard maestro Keith Emerson had taken his own life nearly ten years ago. Later the same year, vocalist/bassist Greg Lake (he of Bar Mitzvah-style hairdos) succumbed to pancreatic cancer at the age of 69. I got bad news for you, Carl. Your former bandmates ain't joining you in South Jersey... or anywhere else, for that matter.

Additional research showed that the performance — "An Evening with Emerson, Lake and Palmer" — would consist of  the 74-year old drummer flanked by two giant screens (in the promo video, Carl emphasized the enormity of the screens) showing decades old footage of Keith and Greg. Carl will be accompanying the film live on drums. For an extra fifty bucks — over and above your ticket price —  you can meet Carl face-to-face and possibly ask him: "Jesus, Carl.... what the fuck?" before they kick you out the door. That sounds like it's worth fifty bucks. Maybe you can also tell him to center himself better in the camera frame when he makes iPad videos. Y'know, before the venue door smacks you in the ass.

Look, I don't begrudge Carl Palmer (or Brian May or the guy from The Yardbirds who's not Eric Clapton or Jimmy Page or Jeff Beck) for wanting to earn a living. But do you really have to grab a buck at the expense of a dead and more popular bandmate? Is that the career path you had hoped for? If you ask Brian May, he'd confidently reply that "Freddie Mercury would have approved."

I guess Keith Emerson and Greg Lake are on board, too. Right, Carl?

www.joshpincusiscrying,com

and he keeps it out of sight

It is no secret that I love visiting cemeteries. Visiting cemeteries (without a funeral to attend) is something I have been doing for over twenty years. I been to many located all over the country, but, of course, I've been to the most in the Philadelphia area. My fellow cemetery enthusiasts (or taphophiles) have different reasons for cemetery visits. Curiously, none of them are specifically for funerals. Some like to see a particular style of grave marker, like those made of zinc (referred to as "zinkies") or cradle graves, used as planters or to designate the grave of a child. Others like to find unusual epitaphs. Still others seek porcelain portraits that adorn headstones, a practice that was popular in the 19th and early 20th century but has enjoyed a resurgence of late. My main goal on cemetery excursions is to locate and photograph the graves of famous people. "Famous" is a relative term. I've seen the  graves of actors and actresses, musicians and politicians, gangsters and sports figures and those of individuals who have made a notable contribution to society but whose name is unfamiliar. I am referring to people like Septimus Winner, who wrote a number of popular songs including Where Oh Where Has My Little Dog Gone? and Listen to The Mocking Bird or Cesare Cardini, who invented Caesar salad.

Visiting cemeteries or "grave hunting" as it known by those within the hobby, is fun (if you're into that sort of thing), but it is, by no means, easy. It takes a lot of preparation, a lot of walking, a full charge on your cellphone and a whole lot of patience. Before I go to a particular cemetery, I check with findagrave.com, an invaluable website with mostly detailed information about the famous, the unsung and regular folks like you and me... except they're dead. I look to see if the cemetery I have chosen to visit has a map that I can print. Then I check for plot locations of the graves I'd like to photograph and I mark them off on my printed map. More recently, grave listings have included GPS coordinates, making grave hunting somewhat easier. Because Find-A-Grave relies on user input, sometimes those GPS coordinates are wrong. Very wrong. That's when frustration starts to set in. I have often found myself walking around in circles, criss-crossing the same 20 square feet in a cemetery, expecting a long-buried corpse to pop up from under a headstone and scream "Hey! I'm over here" while he waves me in with his skeletal hands. So far, that has never happened. What has happened, though, is I have returned to a few cemeteries to try — over and over — to locate that one grave that has eluded me. I have succeeded a few times. 

Rosetta Tharpe — Sister Rosetta, if you will — is interred in a cemetery just a few blocks from my house. I tried for years to find her brown marble headstone to no avail. Until a fellow taphophile helped me out with some easy-to-follow directions. I offered my account of that incident HERE.

Owen Wister, the author who defined the Western novel, is buried in nearby Laurel Hill Cemetery. I have been to Laurel Hill many times, both for community events (like a concert or a flea market) or just to wander through the graves. On each visit, I have tried in vain to find Owen Wister's grave. I even asked a fellow who claimed he was a volunteer tour guide. His confusing directions nearly had me tumbling down the steep banks of the adjacent Schuylkill River. But, just last year, my quest ended when I breached a heretofore unnoticed hedge to find the entire Wister Family plot, with Owen's weather-worn marker as the centerpiece, staring back at me in unspoken defiance. If headstones could smirk... (That adventure in chronicled HERE.)

My third "white whale" is the grave of composer Marc Blitzstein. While his name is not as well-known as his contemporaries, you no doubt know his music. Marc wrote the English lyrics for Kurt Weill's and Bertolt Brecht's renowned Threepenny Opera - the German version of The Beggar's Opera featuring the malevolent, knife-wielding antagonist MacHeath. You know that version of Mack the Knife made famous by Bobby Darin in 1959? Well, he was singing Marc Blitzstein's lyrics to the tune Die Moritat von Mackie Messer, presented in its original German when Threepenny Opera premiered in 1928. Marc went on to compose the critically-acclaimed The Cradle Will Rock, a so-called "agitprop" musical directed by Orson Welles and produced by John Houseman. The show, an eventual hit, was shut down on its debut performance by federal authorities citing its antigovernmental overtones. In his career, Marc Blitzstein was very critical and dismissive of his contemporaries, although he mentored a young Leonard Bernstein and formed a lifelong friendship with the future conductor-composer. In 1964, while on vacation in Martinique, the openly gay Marc (unusual for the time) solicited sex from a trio of sailors in a bar. The sailors accepted Marc's offer, but once they reconvened outside in an alleyway, they brutally beat Marc and left him to die. His body was eventually identified and returned to his hometown of Philadelphia for burial. A small marker decorates his unassuming grave in Chelten Hills Cemetery... a marker I have looked for over and over and over again. (Marc's mother, sister and brother-in-law are also interred within the same plot. Each grave has its own marker.)

Last summer, when I was headed out to West Laurel Hill Cemetery for a return trip (a long overdue follow-up on a trip a decade earlier), I stopped at Chelten Hills. This time, I was armed with newly-posted GPS coordinates. I figured that I would spend fifteen minutes tops, now that an outer-space satellite would be guiding me right to Marc Blitzstein's grave. With a Google Earth map on my phone and an automated voice telling me where to walk, I was led to a spot near a large tree that did not — I repeat DID NOT! — contain the immortal remains of composer Marc Blitzstein. I was in the unfortunate situation I had been in many times before. Standing in the middle of a cemetery — fucked! — because some moron doesn't know how a GPS works. I traced and retraced my steps so many times, if someone was watching me, they would have assumed I was drunk and aimlessly staggering among the dead.

Here was the problem...

See that red pin? Well, according to a Find-A-Grave user, that's the location of Marc Blitzstein's grave. Now, do you see that yellow circle? That is the actual location of Marc Blitzstein's grave. While following the walking directions, that electronic voice announced that I had arrived at my destination, when, in fact, I had merely arrived at a bare patch of grass that had been hit by a lawn mower too many times. I slowly walked around that tree and a few others like it until I gave up, got back in my car and drove West Laurel Hill, where I had a very easy time finding each and every grave I sought. The GPS coordinates were accurate there in every case.

A few months ago, I sent an email to the Find-A-Grave user that had posted photos of Marc Blitzstein's grave. I asked if he could shine some light on the location of the plot. This past Friday, my email was answered... first with an apology regarding the lengthy response time. More importantly, the user supplied a photo, detailed directions and an accompanying map showing the precise location of the grave sought. One I could not pinpoint among the pathways that snake through Chelten Hills Cemetery.

This afternoon, instead of watching the Phillies drop a heartbreaker to the Miami Marlins, I drove out the Chelten Hills Cemetery to settle my score with Marc Blitzstein. Chelten Hills is just a short drive from my house. I pulled into the entrance and drove straight to the first bisecting path. I drove right past the spot where I had trounced the grass flat just a year earlier. I made the first left, drove to the end of Section C and parked. I took three steps out of my car and - goddamn! - if there wasn't the plaque identifying Marc Blitzstein's grave, just as "Mr. Sowerberry" (the helpful Find-A-Grave user) had promised.

I had written about Marc Blitzstein on my illustration blog, with hopes that particular post would end with a photo of Marc's grave, one taken by me nearly in my own backyard. But it was not to be. However, thanks to the assistance of someone else who thinks there are more interesting pastimes than collecting stamps, this tale has a happy and satisfying conclusion.

Would you like the see the other cemeteries I have visited? You can find them HERE.

www.joshpincusiscrying.com

I'll still sing you love songs

When I was eighteen, the legal drinking age in New Jersey was eighteen. Yeah, I lived in Pennsylvania, but the Garden State was just a short drive over a 10￠ toll bridge and I was rolling in cheap beer and dive bars... legally. And South Jersey was filled with dive bars, most of which offered moderate entertainment at no additional charge. The entertainment to which I am referring was cover bands. Cover bands were an interesting entity. They were comprised of wanna-be "rock stars" who figured the only way to get their "big break" was to play exact, note-for-note recreations of the top hits of the day, along with a generous portion of classic, timeless tunes from the annals of (what is now known as) "classic rock." On any given weekend evening one of a dozen different area "cover bands" could be seen and heard at such alcohol-soaked venues as Dr. Jekyll's, Cherries or the ever-popular Penalty Box, a huge establishment with a dozen bars, all serviced by guys in referee's uniforms. Today, they would be mistaken for employees of Foot Locker, but in the late 70s, in Pennsauken, New Jersey, those jerseys meant someone was headed your way with a big, frothy pitcher of Rolling Rock. All of these places featured a rotating bill of the area's most beloved cover bands, each playing the same popular and familiar songs and some even specializing in the songs of one particular band. Witness did a full set of the music of Jethro Tull. Wintergreen did a set of The Beatles. Crystal Ship, as mentioned sarcastically in the Dead Milkmen's epic "Bitchin Camaro," presented their take on songs by The Doors. There was even an all-female band  — Rapture — that offered the best of Blondie. Of course, no group of cover bands would be complete without one who performed songs by The Grateful Dead. As a matter of fact, there were a couple in the greater Philadelphia area. There was Mr. Charlie and a few others — all trying their darndest to sound like Jerry Garcia and his tie-dyed pals. And for the price of a couple of beers, it was a pretty good few hours of entertainment until the real Grateful Dead made it to town. But everyone knew that these bands were just a bunch of guys playing songs by bands they liked for the enjoyment of drunk folks who also liked those songs.

But something happened.

Somewhere between 1977 and now, "cover bands" became "tribute bands" and the rules changed. These bands now play legitimate venues — the same stages that host actual, original bands. There's The Musical Box, a Canadian ensemble that recreates the heyday of Genesis. They have been together, touring internationally, for over thirty years. There is the unimaginatively named Australian Pink Floyd that offer a sonic and sensory experience surrounding the music of  — you guessed it! — Pink Floyd. In the Philadelphia area (and I assume other comparable-sized cities) several venues regularly present tributes to U2, Tom Petty and the Heartbreakers, Queen, ABBA and, of course, tribute staples like Neil Diamond and Elvis.

I know I am in the overwhelming minority, but tribute bands make me very uncomfortable. More specifically, the people who go to see tribute bands make me uncomfortable. In past years, Mrs. Pincus and I were given free tickets to see a Neil Diamond tribute show. I emphasize "FREE TICKETS" because there is no way I would ever, ever pay for tickets to a tribute show. The show was fine. The guy had a good voice and did a pretty good Neil Diamond impression... but the audience! Oh, sweet Caroline! It was embarrassing. These folks thought they were at a Neil Diamond concert. Afterwards, they were clamoring to pose for photos with the singer, who, up close, didn't really look like Neil Diamond. But the audience members — in their sparkly shirts — all acted as though he was the real thing.

I was a very avid and devoted Queen fan when I was in high school. While I still appreciate their musical catalog, my tastes have waned since the passing of charismatic lead singer Freddie Mercury and the subsequent cringe-worthy statements from the previously-silent Brian May. Again, my wife and I were given FREE TICKETS to a Queen tribute show. My wife, a non-Queen fan, was non-plussed about attending and I, a one-time Queen fan, felt the same. The majority of the audience (mostly around my age) felt otherwise. As the lights dimmed and one guy screamed "FREDDIE'S IN THE HOUSE!," I knew I was not going to enjoy this. Queen has a large musical catalog and a plethora of popular songs from which a "tribute band" can choose. Why they selected a version of "Ave Maria" as the centerpiece of the their show still has me scratching my head. But, once again, the audience ate this up.

A few weeks ago, Mrs. P and I went to a Flyers game on the occasion of "Grateful Dead Night." This was the Philadelphia hockey team's attempt at filling their venue in the midst of a dreadful season. The event, however, was postponed, due to an Eagles game at the stadium right next door. Because of the inconvenience, we were given tickets to the rescheduled game later in the year, featuring a pre-game performance by local Grateful Dead tribute band Splintered Sunlight. Last Sunday we arrived on the new date, three hours before puck, drop to see Splintered Sunlight, along with a large group of over-sixty, tie-dye clad "hippies" who were sure — nay, positive! — they were going to see the actual Grateful Dead.

Splintered Sunlight have gained a decent fanbase in the Philadelphia area and have a standing monthly gig at a local venue. Bottom line... they play Dead songs. And Deadheads like to hear Dead songs. I am not a Deadhead. I don't mind hearing Dead songs, but I like to hear other songs too. I am married to a Deadhead. She likes to hear Dead songs. A lot. All the time. She likes to hear other songs, but not as much as she likes to hear Dead songs.

Jerry Garcia, the venerable leader of the Grateful Dead, died in 1995. I don't believe that news has reached a lot of Deadheads. When they hear Grateful Dead songs, some of them think the spirit of Jerry is still strong and is being channeled through the members of Grateful Dead tribute bands... or at least that's how it appears to me. This crowd — in the seating area of a multipurpose arena in South Philadelphia, three hours before a hockey game — believed instead that they were actually among the swaying bodies at San Francisco's Fillmore circa 1968. Some of them, I believe, have not bathed since then.

For two hours, these faithful, if delusional, fans swirled and swayed and twirled to the mid-tempo beats of... oh, I don't know.... all the songs sounded the same to me. They were having a good old time, singing along and pantomiming the lyrics. I was having a time. I could hear clips of conversation around me, referencing "Jerry this" and "Bob that" as though those two were actually on the stage. (They were not.) There was hugging and dancing and, at one point, a balloon bounced its way across the tops of patron's heads, just like at a real Dead show, maaaaaaan! It was a sight.

Honestly, I don't mean to be mean. I'm joking. I really am. It was an interesting experience... that I would not care to experience again. And it was a far cry from the dive bars of South Jersey. Well, maybe not that far a cry,

I still don't like "tribute bands," but I got a blog post out of the experience.

This guy had a good time, though, and that's what's important.

www.joshpincusiscrying.com

don't deny your inner child

I stumbled across The Dead Milkmen by accident... when I was young. 

I was a hopeful art student in 1982, on my way to my menial job of scooping ice cream in an effort to supplement the small student loan I had to contract in order to pay my tuition. Making my way to my job on Philadelphia's notorious South Street, I spotted a simple, single-color, hand-drawn flyer crookedly tacked to a wall near 6th and Lombard, adjacent to the entrance of Levis', the legendary purveyor of hot dogs since 1895. The black & white manifesto expounded on the so-called "serrated edge" philosophy that seemed to be the core of the Dead Milkmen's vision. The grinning cartoony cow — with equally-cartoony "X"s over its eyes — belied an underlying sarcastic tone to the whole thing. At the bottom of the flyer was revealed its true purpose. There was an address and an offer to send for a cassette tape of a collection of songs — recorded in a suburban barn by the Milkmen themselves. "Count me in!," I thought to myself, "These smartasses are my kind of smartasses!" I was a fan of the current trends in pop-punk music (or punk-pop music, depending on which sub-genre is most prevalent) and The Dead Milkmen instantly appealed to me. When I got home that night, I quickly dashed off a check (in the quaint pre-Venmo days) to the Dead Milkmen for my very own sampling of their music, sending it along with a lengthy note — hand-embellished with my own satirical artwork — questioning their philosophy, their outlook, their hopes and dreams and other topics of which I feigned interest. A week or so later, I received a copy — well-wrapped to prevent possible shipping damage — of Death Rides a Pale Cow. The cover photo — a many-times Xeroxed image of a cow — told me that this was to be a smarmy continuation of the humorously rambling dissertation contained on that flyer I saw on a South Philly wall. And, sure enough, The Dead Milkmen didn't disappoint. I played that cassette in my lesser-priced GE version of the Sony Walkman until the magnetically-coated, polyester tape stretched thin. I turned my musically ignorant friends on to the high-octane (and high camp) wonders of Labor Day and Beach Party Vietnam. In a concerted effort to lure them from the hypnotic repetitiveness of A Flock of Seagulls and the faux romanticism of Culture Club, I blasted Veterans of a Fucked Up World with only their enlightenment on my mind. I was young, snotty and angry... but I wasn't "The Adicts" angry. I was Dr. Demento angry.

The Dead Milkmen were the personification of my youth. Rough. Arrogant. Funny... even if they were the only ones who thought they were funny. Their songs were sarcastic little commentaries on things that society held dear. They sang about stuff I drew and I drew stuff they sang about. 

It's a funny thing, though. As much as I loved The Dead Milkmen — and I loved them! — I didn't get to see them perform live until 2014. That's right, 32 years after I first saw their silly flyer stuck to a brick wall with a bunch of other flyers. However, I made up for it, because I saw them perform in a cemetery. Just after that show, I began to follow and interact with the surviving members of the band on several social media platforms (Sadly, original bassist Dave Blood took his own life in 2004). Guess what? Things change when you grow old.

Guitarist and co-vocalist Joe Jack Talcum's presence on social media is pretty sporadic as compared to his bandmates. Joe mostly announces upcoming small gigs, displays his art and gets tagged in a slew of Facebook posts of videos that are decidedly uncharacteristic of a member of the Dead Milkmen.

Dean Clean, the drummer for the Dead Milkmen, posts a lot pictures of his musical equipment. Sure, most musicians like to show off their cool new toys. Evidentially, Dean owns a wide variety of gadgets and gizmos replete with dials and lights and knobs and jacks in to which other gizmos can be plugged. But, Dean also shares the beautiful results of his prowess behind the stove. Dean, as it turns out, is quite the food aficionado, capturing close-up shots of an inviting backyard grill or an artsy perspective of a perfectly arranged charcuterie board. During the summer of 2020, when everyone was huddled in their homes fearful of the looming coronavirus, Dean asked for fan's addresses via Instagram. Those who responded were treated to a limited edition, hand-drawn postcard from the same guy who kept the pounding backbeat on Life is Shit.

Most of my Dead Milkmen interaction is with Rodney Anonymous. Rodney often hosts live Instagram "reports," walking through his South Philadelphia neighborhood and divulging little known facts about locations regularly passed by and ignored by pedestrians. He also speaks out about issues that face folks of ... shall we say... a certain age. Rodney is also a fan of my television watching habits, as is evidenced by the "likes" he gives to my regular posts of "screen shots" from fifty year old sitcoms. Based on the reruns I watch and the approvals he gives, we lived parallel lives in front of the family "boob tube" in our formative years. On occasion, I will serve up a playful shot at Rodney about his punk rock salad days... and he accepts my good-natured jibes like a sport. He also likes when I post cat pictures.

Collectively, The Dead Milkmen host an online Q & A on YouTube, on which they talk about a wide range of subjects and answer burning questions from their now-senior fanbase. It is essentially four guys, approaching their twilight years, discussing things while they nurse a cup of coffee at the neighborhood diner... except they're on Zoom.

I have suddenly (and reluctantly) come to the realization that I am old, my contemporaries are old and my heroes are old. We all get old. And even if we try to avoid mirrors, there are mirrors all around us. I still fancy myself that rebellious kid with vinegar in his veins, ready to take on the big, bad oppressive world. But when I look in an actual mirror, I see a white haired man, very reminiscent of my father. It's okay, though, because there's an old expression — one I heard used by my parents and grandparents and other assorted old people: "You're as young as you feel." 

I finally understand exactly what that means.

Note: After I finished writing this, I saw Sting delivering clues on "Jeopardy!" Now I really know what that means.

www.joshpincusiscrying.com

happy place

Vanessa Hudgens is a popular (I guess?) singer and actress who rose to her level of fame as part of the young ensemble cast in Walt Disney's celebrated High School Musical. As a teenager, Vanessa became a staple among the prepubescent set via a generous, though well strategized, push from the mighty Disney publicity machine, much in the same way as Miley Cyrus and Britney Spears. And, like them, Vanessa has done her very best to bust out of the safe and wholesome confines of the "Disney brand." First of all, she is 31, hardly an age that would appeal to any pre-teens. But, still, she has adopted a more sultry and sophisticated persona in hopes of being recognized as an adult and taken seriously by an adult audience.

In her quest to maintain a career, she has done some good things and done some bad things — just like any one of a zillion actors trying to "make it" in a cut-throat business. She costarred in some box-office successes as well as some failures. She stayed in the positive headlines by dating her High School Musical co-star Zac Efron. She caused a bit of controversy when she carved her initials into a rock and posted the photo on her Instagram account, proudly displaying her handiwork to her nearly forty million followers. The US Forest Service wasn't among those lauding accolades on the young celebrity. The rock, you see, was in Coconino National Forest and she was ordered to pay $1000 in damages.

Well, Miss Hudgens is at it again. She posted a photo on her Instagram account for which she received a good amount of criticism. Unjust criticism, in my opinion and the opinions of some of my death-obsessed pals across the internet... and there are a lot of us. On October 10, in a time where most Hallowe'en celebrations have been stifled by the global COVID-19 pandemic, Vanessa offered a bit of the dark holiday season to her followers. She posted an artful, black & white shot from a recent photoshoot that took place in a cemetery in the storied New York burg of Sleepy Hollow. Vanessa is pictured in a clingy black dress (and accompanying face mask) cavorting among the headstones. She originally captioned the image as "my happy place." Immediately, the post was hit with a barrage of angry comments, as the internet is want to overreact to pretty much everything — including: “Why would you pose in a cemetery and post ‘happy place?’ Bruh.," “Um am I the only one who finds that disrespectful?," "Ur happy place is a cemetery?," and my personal favorite - "What's wrong with you?"

Some folks came to her rescue, noting that — at one time — a great many cemeteries were park-like places that welcomed family picnics. However, the overwhelming response was negative. Vanessa did not remove the post, though she did revise the caption to read: "Searching for that headless horseman" - a reference to Washington Irving's beloved tale that takes place in the otherwise quiet little town of Sleepy Hollow. 

I know that "the internet" is very judgmental and awfully quick to jump all over those who are deemed "objectionable." That means everyone at one time or another. But, just because something seems strange to one person, someone else could — and often does — find that same thing thoroughly enjoyable. Skydiving, getting a tattoo, eating octopus, liking the Dallas Cowboys — all of these things are both joyful and repulsive. It all depends on who you ask. Which is why I found "the internet's" initial condemnation of Vanessa Hudgens's photo so... so... offensive!

I have been visiting cemeteries for years. Years! They are fascinating, interesting and informative. In addition, I find them to be both majestic and peaceful. They are not merely storage places for the deceased. They are three-dimensional history lessons for the living. Grave markers are works of art, sometimes engraved with personal sentiment or loving memorials to the person buried beneath. Many graves are adorned with statuary, commissioned by the surviving family to honor their loved one. The grounds are usually pastoral areas of rolling lawns and shady trees, offering a tranquil retreat in which to reflect.

Or it's a cool place with dead people.

However you feel, there are a lot of people who like cemeteries. I regularly peruse the Find-a-Grave website to plot out my next cemetery field trip. I find myself craning my neck for a better look when we pass a cemetery while out running errands. Vacation destinations would often include a side trip to a nearby cemetery, much to the chagrin of my family. (They love me, so they humor me.) I belong to a private Facebook group called "The Death Hags" — a darkly humorous name for a bunch of folks who share my love of cemeteries and all things death. (Note: I have since been kicked out and banned from this group based on the feelings of a paranoid and over-zealous admin.) Before you start passing your self-righteous judgement, the group boasts eleven thousand members. So, your neighbor, your boss or even your spouse might be one of us... so watch it.

As far as Vanessa Hudgens's little jaunt through Sleepy Hollow Cemetery.... I was there in 2014. It's a beautiful spot and a local tourist attraction. It is the final resting place of some pretty notable names like Walter Chrysler, Elizabeth Arden and, of course, Washington Irving. You can visit vicariously through this link.

I am really not that familiar with Vanessa Hudgens's work and I believe I am way out of her target audience. But.... she's okay by me.

www.joshpincusiscrying.com

say your piece and get out

"This post ain't gonna make some people too happy." – JPiC

Considering I am very familiar with their musical catalog, seen them over a dozen times and can name every member of the band – past and present – I would not really consider myself a fan of the Grateful Dead. My wife, however, is a fan. A true fan. A longtime fan. Based on that, I suppose my status could be best summed up as "DeadHead-in-law."

When I was in my record collecting heyday back in high school, I would often be found perusing the "cut-out" bins at the supermarket-sized Peaches Records, a now-defunct retailer near my Northeast Philadelphia home. "Cut Outs," for the uninformed, were records that had been dropped from the label's regular catalog for lagging sales. Their sleeves were punched with a hole or sometimes the cover of the jacket was clipped or notched to prevent the retailers from returning them to the label for reimbursement. These records were sold at a deep discount. I discovered some great finds in the cut-out bins, like the prog-rock classics Fox Trot and Nursery Cryme by Genesis, Tales of Mystery and Imagination, the debut effort by The Alan Parsons Project, Lodger, the final release in David Bowie's Berlin trilogy and Steal Your Face, a live recording by the Grateful Dead and the final release on Grateful Dead Records. I was not familiar with the majority of the Grateful Dead's musical output at the time, but I noticed that Side Three boasted "U.S. Blues" and I remembered that song from The Grateful Dead Movie, which I saw at a midnight showing that I'm still not sure why I attended. So, I bought the album for a mere four dollars, if I remember correctly. I took it home, listened it to once all the way through, listened to "U.S. Blues" a few more times and never played it again. It was boring, filled with seemingly endless meandering guitar sections and an aimless drum solo. At the time of this purchase, I was a fan of Jethro Tull, Pink Floyd, Queen and other popular "big rock bands." No one I knew was a fan of the Dead, save for a few older cousins who would follow the band to every performance across the country and were often the brunt of whispered disapproval by aunts and uncles. After one album, my Grateful Dead experience was quickly over, as I soon discovered the punk rock and new wave trends that were infiltrating modern music, leaving no room for 60s relics.... like the Grateful Dead.

In early 1982, a young lady came into the restaurant when I worked to earn art school tuition money. Little did I know, that – in two year's time – she would be my wife. Now, she was just a pretty girl with long hair that thought I was the most obnoxious person she ever met. (She actually told me that.) Well, after some lengthy "getting to know each other" time, we began dating. Future Mrs. P and I went to the movies and to dinner for the first month or so of our budding relationship. As nicer weather approached, so did the annual Grateful Dead Spring tour. I was not aware of such a perennial event, but to the DeadHead community, you could set your bong by it. My future spouse bought tickets to both shows scheduled for the Philadelphia Spectrum, one of which I would be attending – whether I liked it or not. I would be seeing my soon-to-be wife in her natural element.

The night of the show, we found our seats at the venue. I had been to the Spectrum – the preeminent concert facility in the city, that also served as the home of the Philadelphia Flyers and 76ers – many times before. The place was big and cavernous and more suited to hockey games than concerts. In previous visits, I had never been subjected to a crowd like the crowd at a Grateful Dead concert. The seats were packed with tie-dye clad throwbacks to a time that had – as far as I knew – become extinct decades ago. There were guys with beards like unkempt bird's nests tripping over their own feet as they staggered down the aisles. Young women in long batiked dresses, obviously heeding Scott McKenzie's plea of "be sure to wear flowers in your hair," despite the fact that we were on the opposite coast from San Francisco, swirled and twirled to music only heard in their own ears. The future Mrs. P introduced me to my future brother-in-law. He fit right in with his wild auburn hair, untrimmed beard and colorful T-shirt. The lights soon dimmed. The crowd roared and, after a minute or two of tuning, the band launched into "Jack Straw," their opening song. As the show progressed, I asked future Mrs. P the titles of the songs, since I was unfamiliar with the Grateful Dead canon. She was accommodating, whispering the titles to me so as not to disturb her fellow devotees. Twenty-five minutes later, I asked the name of the song the band was currently playing. Future Mrs. P leaned in and said "Same song." I gulped.

As the years went on, I went to many more Grateful Dead shows, including one where the same guy fell on my lap four times until my brother-in-law literally tossed him down the aisle. There was one where Mrs. P and I sat in seats behind the stage and noticed – halfway through the performance – that the entire section next to ours was asleep. I even saw a few Jerry Garcia solo shows, which were no great departure from a Dead show, right down to the song selection and audience members. Although I saw my fair share of Dead concerts, I still never became a fan. I didn't hate the band, they just never occupied a special place in my heart the way other bands did.

Jerry Garcia, the iconic leader of the Grateful Dead, passed away in 1995, leading most fans to believe that this signified the end of the "golden road" for the band. Sure, they had gone through several keyboardists (as famously parodied in This Is Spinal Tap), but the loss of Jerry had to be the death knell for the Grateful Dead.

It was not.

A three-year hiatus of uncertainty yielded something called "The Other Ones," a reforming of the surviving members of the Grateful Dead doing what they do best – performing Grateful Dead songs. This assemblage morphed into "The Dead," which begat "Furthur." In spite of a grandiose "farewell" tour in 2015, the current incarnation of what was once "The Grateful Dead" still tours and performs regularly as "Dead & Company," comprised of aging original members and supplemental younger blood. Former bass player Phil Lesh tours independently from his one-time band mates, but has no problem including the same songs on his set list.

Although I am not a fan, I recognize this as a poignant epilogue to The Grateful Dead story. Once mighty in their stature as a pioneering, influential and respected contributor to the history of rock music, they have evolved into a cover band – sadly covering themselves.

Honestly, what else are they supposed to do? Although most of the faithful don't seem to mind.

www.joshpincusiscrying.com

i love the dead

With so much going on in the world — so many important topics up for discussion and debate — I thought I'd focus on a subject that holds the utmost importance to me.

Me.

Specifically, my wonderful and turbulent relationship with the internet. Over a decade ago, I entered the world of the World Wide Web when I published the first entry* on joshpincusiscrying.com, my illustration blog. My blog consisted mostly of entries for the weekly challenge posted on Illustration Friday, a sort-of community of artists from all over the world. Illustration Friday offers a single word of inspiration and allows artists a week to interpret that word until the next Friday brings a new word. I have actively participated in this process for eleven-plus years, never missing a single week (even when Illustration Friday missed a few themselves). I began small, hesitant to post anything controversial, fearful of editorializing, expressing my opinions or — gulp! — causing a stir. In between my weekly drawings, I began to create drawings of my own inspiration, under the category title "from my sketchbook."  But, over time, I began to inject some of my unorthodox sense of humor that has become the unofficial Josh Pincus trademark. 

In 2008, I posted this drawing of aspiring actress Peg Entwistle, who met an untimely demise in 1932. A distraught Peg, weary of the cruel treatment she received from film executives who crushed her glittery dreams of stardom, flung herself from the top of the massive "H" in the famed "Hollywood" sign that loomed over Tinsel Town. My illustration pissed a reader off so much that he contacted me with a series of threatening emails. I was so pleased that someone took that much time and effort with something that I created, I couldn't have been more flattered. As an artist, as far as I'm concerned, there is no such thing as bad publicity. I would rather have my art evoke anger than joy. Anger is a much stronger and more passionate emotion. 

But it didn't end there. I was reprimanded by the admin of another illustration website. I received more threatening emails regarding a drawing I did of session drummer/convicted murderer Jim Gordon. I pissed off a fellow artist who accused me of being a bully. The list goes on and it's all documented under the "About" tab on my blog's homepage.

In 2008, I joined Twitter, which — depending how you look at it — was the best or worst thing I could have ever done. Twitter became the ideal place for Josh Pincus to flourish. It became an outlet for  my jokes, commentary, sarcasm and stream-of-consciousness thought. To date, I have logged over 55,000 tweets. It's a wonder I ever get any work done. Soon, I began to promote my drawings on Twitter. I gained more followers and widened my audience, although, I maintain, that I draw primarily for my own amusement.

Troublemaker

Last year, while looking to amp up my illustration output from what had dwindled to just one per week, I began a new series on my illustration blog. I kicked off 2016 by posting the first drawing in my series I decided to call "Dead Celebrity Spotlight." As I stated in the premiere entry, this would marry two of my prime interests: drawing and celebrities who had passed on. The "drawing" part was obvious. I have been drawing since I was a child. The "dead celebrity" part stems from my love of old Hollywood, chock full of obscure tales of fleeting fame and spectacular deaths and my affinity for visiting cemeteries (yeah, I do that). So, after drawing and writing about a different dead celebrity (some that you recognize, some that you hardly even heard of) every week for an entire year, I continued the series into the current year, adding some special "mid-week" entries as the news of the passing of a beloved and renowned public figure broke. There are (as of right now) one hundred and twelve drawings and stories in the Dead Celebrity Spotlight series. I plan to keep posting new ones every Friday. I hope they garner the reaction that my most recent post achieved.

Early Friday morning, I woke up at 5:45 and, after showering and brushing my teeth and warming up the Keurig, I lumbered up to the third floor of my house to post the daily celebrity death anniversaries on the Josh Pincus Facebook fan page. Then, before heading back downstairs for a cup of coffee, a bowl of Raisin Bran and a couple of episodes of The Andy Griffith Show prior to catching my morning train, I selected a draft from the backlog library of "Dead Celebrity Spotlight" section of my blog to publish. This day, I chose a personal observation of teen idol David Cassidy, whose death just last week at a youthful 67 shocked and saddened a generation of fans who grew up watching and loving him on The Partridge Family. My drawing and commentary went live at 6:19 AM and, little did I know, all hell was about to break loose. My tweet, which is set up to automatically generate from Facebook, got some "likes," some "retweets," and some "replies" — one of which was quite displeased by my sentiment.

A Twitter user named Mar offered this reply:

In typical Josh Pincus fashion, I responded:

I thought this was funny enough to post as a screenshot on my Facebook page as well.

Later, another angered Twitter user, suspiciously calling herself  "Laurie," perhaps as an homage to Susan Dey, David Cassidy's TV sister on the 70s sitcom, expressed her displeasure at the choice of terms I used as the title of my illustration series (on my blog).

This one was puzzling. Was she offended? Really? It's not like I said "Croaked Celebrities," or "Celebrities Now Residing in Box City," or "Lifestyles of the Rotting and Famous," or any number of other derogatory euphemisms for "The Great Beyond." "Dead" is a perfectly good, non-offensive word. Funeral directors, doctors, newscasters, even your mother ("Oh dear, I just heard from Fannie that Milton is dead.") use it all the time. 

So, not being one to drop things until they are thoroughly beaten into submission, I questioned:

Laurie replied:

But the criteria for inclusion in this series is the celebrity has to be dead. Not for any particular length of time, just dead. I have done drawings of celebrities within minutes of the announcement of their death (former Phillies pitcher Roy Halladay comes to mind). I tried to stress this in 140 characters or less, but my confusion hindered my ability to be as articulate as I would have liked. Instead, I returned this:

Her brief retort popped up almost immediately, followed by what is commonly known as  a "kiss-off:"

And, just like that, she was gone. Her portion of the debate ended. Her final summation delivered. As Archie Bunker often proclaimed: "Case closed!"

When I was compiling screenshots to compose this entry on It's Been a Slice, I was met by this message when I visited "Laurie's" Twitter account page:

Now we're talking. Or... maybe we're not.

I said it before, and I'll say it again: Oh, do I love the internet!

* Ironically, that initial entry, in March 2007, featured an illustration of Bill Cosby, whose shattered career has been chronicled in recent headlines. How prophetic of me. I think.

***** ***** ***** ***** *****

My annual Christmas music compilation is available as a 
FREE DOWNLOAD 
at ge.tt for a limited time.

This year, it’s a whopping 81 minutes worth of pure Christmas cacophony that’s sure to ruin your holiday celebration within seconds. Need to clear your house of unwanted guest who have overstayed their holiday welcome? Download this compilation, crank it up and watch those ungrateful freeloaders head for the door. (You may even follow them.)
 You get twenty-seven eclectic Christmas selections that run the gamut from weird to really weird plus a custom full-color cover with track listings – all for you and all for FREE! (That’s right! FREE!)

(Please contact me if you have trouble with the download.)

www.joshpincusiscrying.com