wide open spaces

Every summer, Mrs. Pincus and a couple thousand other folks converge on Camden, New Jersey for a three-day music festival put on by my favorite Philadelphia radio station. The XPoNetial Music Festival — now in its twenty-fifth year — brings bands from all different genres to two stages for a celebration of fun, food, camaraderie and positivity. At least that's what it attempts to do.

The show is outdoors — rain or shine. Most years, the weather has been spectacular. A few times, performances have been cut short because of rain. One year, recently, schedules were shuffled around (with some acts being canceled completely) because the festival was scheduled the same weekend as a hurricane. This year, thankfully, the weather was wonderful. Bright sunshine, cool breezes coming off the nearby Delaware River and moderate temperatures never inching past the low 80s. Of course, an outdoor show is much more laid back. Attendees are free to stretch out and make themselves comfortable. Sure there are crowds right up in front of the stage, but for the most part, people keep a comfortable space between each other. Blankets are used to mark off territory and keep things orderly. But, there's always that one guy...

On Saturday afternoon — Day Two of the festival — brought a variety of musicians to the two stages. Early in the afternoon, local singer Owen Stewart brought a full entourage to the River Stage to play songs from his debut album. From our regular vantage point — at the very top of the hill of Wiggins Park's natural amphitheater — we could barely make out the number of band members, let alone any recognizable faces. They played and we listened and, like most other people, we engaged in conversation with our fellow concert-goers.

Later in the day, Swiss-born Sophie Allison — who goes by the stage name "Soccer Mommy" — took the River Stage with her band. I have heard a few songs by Soccer Mommy on the radio, but I don't recall anything special about them. A few songs into her set, I found myself losing interest. I began absentmindedly scanning the crowd and finding my attention drawn elsewhere. Just then, I spotted a friend of mine sitting just a few feet away. He is a local guitarist and has played in a bunch of bands in the area. He is also a fellow graphic artist. Although we are connected on several social media platforms, I have not seen him in person since the last time one of his bands played the XPN Festival in 2022. I scooted over to where he was sitting to say "hello." He smiled when he saw me and introduced me to his blanket-mates, who happened to be his parents. We talked a little about his upcoming solo musical project and the current status of his current band. Then I asked him how his design career was progressing. Before he got a chance to answer that one guy (from the second paragraph) who was sitting in front of my friend, turned around and tapped my forearm. "Hey," he began in an angry growl, "If you two wanna talk, take it somewhere else!" The last part of his demand was bathed in a particularly venomous tone.

I stopped talking. My friend stopped talking. We exchanged puzzled looks. I whispered that it was good to see him and I sheepishly slunk back to my blanket. I thought to myself: "Wow! That guy must be Soccer Mommy's biggest fan!" and I kind of felt bad that I was impeding on his moment. I glanced over to where I once was, expecting to see that one guy grooving to the monotonous sounds of Soccer Mommy, now that the air was rid of the distracting cacophony of my rude voice. Surprisingly, that one guy was gone. It took me less than ten seconds to get back to my staked-out, blanketed territory and that one guy didn't even stick around to the end of the song I was interrupting.

As afternoon turned to evening, I spotted that one guy over by the smaller Marina Stage. He was standing by the side of the stage while venerable folk-rock mainstay Richard Thompson was addressing the crowd between songs. During Richard's stage banter, that one guy was screaming incoherently, trying to raise his voice above that of the electronically-amplified Richard Thompson. As the next song began, that one guy turned on his heel and headed in the opposite direction.

Throughout the rest of Saturday and many times over the course of Sunday, I spotted that one guy in various places on the festival grounds. Every time I saw him, he was alone... and yelling. 

I hope he had a good time.

www.joshpincusiscrying.com

while a dark-eyed girl sang and played the guitar

I have been going to concerts for over fifty years. The concert experience has changed considerably in that time. My early concerts were at one of two venues in the Philadelphia area — The Spectrum and The Tower Theater. The Spectrum was originally built as the home of the Philadelphia Flyers. Someone had the bright idea to use the facility for concerts during the four months when no hockey games were played, along with the time that the Flyers were playing as the visitors in another venue. This left the Spectrum empty for a good portion of the year. In order to keep the revenue flowing, the Spectrum was used for other, non-hockey events, like the circus, the Ice Capades and concerts. Events like the circus and Ice Capades were fine because they were suited to the vastness of the open venue. However, each concert presented at the Spectrum further proved that the Spectrum was not made for concerts. The acoustics were terrible. Most of the permanent seats did not present ideal views of a stage that was set up at one end of the oval-shaped floor. The rest of the floor was filled in with uncomfortable folding chairs that were laid out on one level. Any seat beyond the first few rows from the stage offered a view of the evening's performance equal to that of watching a concert on a crowded bus.

As time went on and my musical tastes changed, I began to see shows at smaller, more intimate venues. I suppose I began to be more interested in bands who couldn't possibly dream of filling a venue the size of the Spectrum. A room that held just a hundred or so fans was more suited to the singers I gravitated towards as I got older. Luckily, Philadelphia was filled with smaller venues that offered a performance space for those acts that were just beginning to gain a following or to those who once experienced huge fame but were now on their way down the "popularity" ladder. 

I liked the smaller venues. They gave fans a close-up show as opposed to watching a tiny speck of a band on a huge stage that you were sitting a zillion feet from. The problem with a smaller venue is people. That seems to be the root problem of a lot of things. People don't know how to behave. They are selfish. They don't consider the feelings of those around them — those who also paid for a ticket. People talk with a loud voice. People sing along — loudly — with the performer. For non-seated shows, people push and shove and lean over other folks who got to the venue early to stake out a good spot for the show. "People" who arrive a minute before showtime want the same accommodations without the logistics or situational planning. The worst offense committed by "people" is shouting out requests and trying to engage the performer in one-on-one conversation, as though they are a traveling minstrel and you are royalty.

Years ago, my son and I saw Inara George at a small (now defunct) venue called The Tin Angel. The Tin Angel was on the second floor of a popular restaurant. The place was accessed from a narrow staircase that led to a seating area that was roughly laid out like a bowling alley. It was long and narrow with a full bar along the rear wall. On the opposite end of the room was the tiny stage, barely large enough to comfortably accommodate a solo performer or, possibly, a duo, A three or four piece band found themselves jockeying for position, especially if one of the band members was accustomed to playing a full drum kit. Between the bar and the stage was a bunch of tables and chairs, all closely-placed so as to ignite instant friendships among the evening's audience. In an effort to fit as many people into a performance, there was a single line of chairs pushed up against the wall next to the stage, leaving a very narrow walkway to the restrooms and backstage area. Anyone wishing to answer the "call of nature" would have to deftly avoid elbowing a performer or stepping on the feet of a seated audience member. When my son and I saw Inara George, we occupied two of those stage-side seats. Before the show started, the seat next to me was taken by a sort-of disheveled man about my age who didn't take off his ratty coat or threadbare hat for the entire night.

Inara George is a very talented singer-songwriter. Her music can only only be described as "indescribable." She crosses genres from folk to electronic and a variety of others in between. She has released a number of solo albums and has been a member of several bands, including The Bird and The Bee with Grammy-winning producer Greg Kurstin. Inara is an engaging performer whose stage shows are filled with conceptual presentation. I've seen Inara George a few times and her shows are always delightful and always surprising. Plus, she's very friendly and very personable. She makes it a point to maintain her own merchandise table and greet each fan after the show. Inara is the daughter of the late Lowell George. Lowell was the founder of the pioneering rock band Little Feat, who were an early entry into the "alt-country" genre before it had a name. Lowell dabbled in country, folk, jazz, fusion and was a early purveyor of the "jam band" genre, often lumped into the psychedelia of The Graceful Dead and New Riders of the Purple Sage. As influential as Lowell George was, Inara George's musical output sounds nothing — nothing! —like that of her father.

Before the show began, I chatted with my son. I could sense that the disheveled guy next to me was not-too-stealthily listening in on our conversation. During a pause in my conversation with my son, the disheveled guy tapped me on the shoulder to inform me that Inara George was the daughter of Little Feat founder Lowell George. I looked at him and nodded, replying, "I know." I would say that, judging from the average age of the audience, most of the people at tonight's performance were aware of the disheveled guy's "insider information."

The show began. Inara danced around the stage with a couple of back-up dancers, all were wearing matching  diaphanous tops and were carefully aware of their footing to avoid tumbling off the stage. In between songs, Inara spoke to the audience, relating a story about how a particular song came to fruition or a humorous anecdote about touring the country.

Or, so I assumed.

Despite my close proximity to the stage, I had a hard time hearing everything Inara was saying. The reason was that the disheveled guy was screaming — screaming! — titles of Little Feat songs at the very top of his voice during every break in the music. Inara and her accompanists would sing a few songs in a row, then stop to introduce the next number. The disheveled guy would lean forward and shriek "FAT MAN IN THE BATHTUB" or "SAILING SHOES" or any number of other Little Feat compositions written and sung by Inara's father. During every single break in the music, my immediate air space was peppered with a running repertoire of Little Feat songs, as though the disheveled guy was reading the track listing from the back of the Waiting for Columbus album.

At the show's conclusion, Inara and company thanked the crowd and exited the stage. The approving applause didn't let up, in hopes that it would convince the band to return for an encore. The disheveled guy joined in, punctuating his applause with more, previously unmentioned Lowell George songs. (He did release a solo album just prior to his untimely death in 1979.) Inara et al  returned to the stage and — Surprise! Surprise! — her encore did not include a single Lowell George song.

I've been to other shows where audience members screamed at the performer, either a song request or some undiscernible string of words. The performer usually ignores such outbursts, either out of politeness of seeing there is just no point to acknowledgement. Every so often, a performer will berate such an audience member on behalf of the entire audience. 

I suppose Inara George was just being polite. After all, she does sing this...

www.joshpincusiscrying.com

you don't have to put on the red light

After many, many comfortable carefree years of taking the train, I returned to the white-knuckle endeavor that is my daily commute to work.

I do not like driving. I openly admit that I am not a good driver. I can operate a car and I can get from one place to another. But, I do not enjoy the actual activity of driving. I think the main reason for this is other drivers. Other drivers are angry, aggressive, impatient, self-centered and oblivious to their surroundings and other drivers. I am very wary of other drivers making last minute decisions to change lanes without signaling. I try to make myself aware of that particularly erratic driver who — I just know — is not going to make that turn he has been promising for over ten blocks via his blinking turn signal. I keep alert to be ready to hit my brakes when the vehicle in front of me decides to stop, activate its hazard flashers and remain in an active lane, despite the availability of numerous curbside parking spaces.

More recently, I have witnessed a driving phenomena that just baffles me. I see it nearly every morning in the span of my forty minute commute to and from work. My morning and evening drive takes me through several small, residential Philadelphia neighborhoods. Like most neighborhoods, there are houses packed tightly into to a checkerboard of streets. There are cars in driveways and on the street and children running across lawns and sidewalks and sometimes into the street to chase an an errant ball. With all of this activity, I am still shocked — shocked! — to see drivers failing to stop at red lights on a regular basis.

Almost every single day, I as I apply my brakes at an intersection where the traffic signal in my direction is displaying a red light, a car next to me continues without slowing down and with no regard for the automated signal. However, a new twist has been added by some particularly brazen drivers. This new trend, which seems to be gaining popularity every day, involves an actual stop of the vehicle. The driver has acknowledged the existence of the red light and has stopped his vehicle accordingly. But, then, the driver has determined that the length of time that the red light is displayed is too long. He's got places to go and things to do and cannot waste any more precious time waiting for this silly light to turn green and allow him passage. So, taking the law into his own hands — and after stopping for his assessment of a reasonable amount of time — the driver proceeds right through the red light. Since he stopped, he is very conscious of what he has done. It is much different from "Oh, I didn't see that the light was red!" Instead, it is, "Oh, I saw the red light. I just had enough." I see this a lot. An awful lot. I have even seen this occur with a police car stopped nearby.

What have we become? Why are the basic rules of society breaking down right before our eyes? It's not just blowing a red light. It's refusing to wait in line. It's taking photos at a concert or play, despite pre-performance announcements of "No photography, please." It's demanding substitutions in a restaurant when the menu clearly states "No substitutions." It's parking in places that are obviously not parking spaces. It's not owning up to our own mistakes. It's a lot of things.

A civilized society is supposed to evolve. At least I thought that was the plan.

www.joshpincusiscrying.com

rescue me

This may surprise you, but I go to work to work. Over the years and over many, many jobs, I have pretty much kept to myself. I like to think that I am a diligent, focused worker and my prime concern when I am at work is to work — to do the job that I am being paid to do. I have had a few jobs where I became friendly with my co-workers and — to be honest — that took a bit of adjustment time. I never looked at work as a social situation. I never considered my "co-workers" to be my "friends." They certainly weren't my enemies (except for the few that actually were). I maintained a cordial, business relationship with my co-workers and the majority of my discussions with co-workers were business-related. I didn't socialize with my co-workers. As a matter of fact, I never even considered socializing with my co-workers. I will admit that, in the few rare instances when I let my guard down, I have maintained some friendships that carried on long past the time I spent at the particular job during which I first made them. (I just attended a birthday party for a close friend that started out as just a co-worker at I job I had five jobs ago.)

In my defense, one of the reasons I had not attempted to cultivate friendships with my co-workers is the nature of my chosen profession. I have been working in and out of the commercial printing industry with the better part of forty years. For those of you unfamiliar with the commercial printing industry, I can tell you that it employs the absolute scum of the earth and lowest of the low that society has to offer. The commercial printing industry is chockful of dopes, idiots and morons... and that's being kind. Those of you who either work in or have dealings with commercial printers know what I am talking about. If you disagree with me, well, you are the person I just described.

At my current job, I rarely (if ever) speak to my co-workers. I will only talk to any of then if it pertains to print dates or the design of an ad. Otherwise, I have work to do. I don't have time for mindless chit-chat with a bunch of people who — despite three years of employment — I don't know their last names. Conversely, my co-workers know nothing about me. They know I live in Pennsylvania. (I work in New Jersey.) If they are observant, they have seen a wedding ring on my left hand, so, if they have a brain in their heads, they can assume I am married. But, I don't think any of them know my wife's first name or if I have any children... and that's just fine with me.

The commercial printer I work for produces full color advertisements for supermarkets of all sizes. Personally, I am responsible for the layout and production of the ads for two markets — an on-going assignment that keeps me busy week in and week out. Recently, the company acquired the account of a chain of markets in the New York area whose ads they would like me to produce. In order for me to do this, they hired a new graphic artist whom I was tasked to train to take over one of my more needy, more cumbersome clients. (That's a story for another blog.) The new artist is a very quiet young lady. On her first day on the job, she sat attentively by my side while I offered a detailed "play-by-play" narration of how to layout the ad that would eventually be passed on to her. I talked and talked and explained and illuminated while she furiously scribbled notes in a notebook. Every so often, she would politely interrupt my barrage of instruction to ask for clarification, but overall, I talked and she listened. This method proved very successful. I the subsequent weeks, Kathy (the new artist) had taken over the ad like a pro. Her questions came few and far between and her work output was fast, efficient, accurate and professional. My watchful eye became relaxed as I realized that she no longer required regular supervision. A few times, she would ask for specific layout advice, but, overall, she was working independently and that was the goal.

A few days ago, I was obligated (I think) to attend a holiday get-together for my immediate co-workers  — the ones in my department. When this little soiree was first proposed, I thought that I would rather have root canal sans anesthesia, than sit in a restaurant with a bunch of people I didn't really know and didn't want to really know. But, I went.

Midway through dinner, I glanced around the table and noticed that a few co-workers were missing. Theresa, who organized this thing, was sitting next to me. Theresa is a particularly loud co-worker who was probably on the property when construction began on my employer's building, so they just built around her. I turned to Theresa and — against my better judgement — initiated a conversation.

"I noticed," I began to Theresa as I gestured towards my co-workers at the long table, most of whom are close to my own age., "that some of the kids aren't here." By "kids," of course, I was referring to several new hires who appear to still be a few years from their thirtieth birthday, Theresa frowned and with a throaty, nicotine-tinged voice, said, "Yeah, none of them wanted to come." Then, she said with an accusatory tone, "What's up with that Kathy girl?" Theresa seethed a bit when she pronounced Kathy's name. 

"What do you mean?" I asked. I couldn't believe I was furthering the conversation.

Theresa leaned right in. "There's definitely something wrong with her." 

"She is shy.," I replied.

"Oh no!," Theresa barked, "She's more that just shy! She's socially awkward. I looked right at her and she won't even say 'hello!' She's weird."

"Show me an artist that isn't socially awkward!" I began with a little levity, but I felt I couldn't let Theresa get away with her loudmouth, unwarranted condemnation of someone who I felt was doing a pretty good job — and wasn't there to defend herself. "Kathy happens to be doing a very good job on the ad she took over. She knows what she's doing and she needs no supervision anymore. Sure, she's quiet, but she's there to do a job and she is doing that job." I concluded my defense of Kathy by adding, "Besides, Theresa... I don't say 'hello' to you either."

Theresa laughed nervously and promptly changed the subject.

The next day at work, my boss was making the bi-weekly rounds of distributing paystubs. He stopped at my desk and thanked me for sticking up for Kathy's work practices. He also expressed his displeasure, deeming Theresa's comments as "out of line," considering she has absolutely no work-related interaction with Kathy. 

I smiled and went back to work... because I had work to do.

Footnote to this story: Kathy tendered her resignation after two months of employment. I hope Theresa is happy.

www.joshpincusiscrying.com

oh say can you see

On Tuesday, I went to my first general admission concert since the world went into seclusion from the onslaught of the COVID-19 pandemic. I went to a show in July, but this was at a reserved seating venue, where staying in your seat (or at least by your seat to do a little awkward dancing) was strictly enforced by the staff of flashlight-wielding, credential-wearing martinets employed to patrol the aisles and keep order. 

But Tuesday's show was different. It was held at Philadelphia's beautiful World Café Live, a two-stage venue that I have been to many, many times since its opening in 2004. I've seen a wide variety of musical acts there, as well as special movie screenings and a fair share of dance parties sponsored by the radio station that employs my son (which is, by chance, housed in the same building). While a handful of shows at WCL offer reserved seating, most are general admission, allowing attendees to stake out a spot on the large open space in front of the stage or in the smaller area surrounding the bar at the rear of the venue. I have seen shows that were poorly attended, with sad little clumps of patrons gathered haphazardly on the floor. Conversely, I attended a free performance by 80s icons The Pretenders where the audience appeared to be doing their best approximation of a sardine can. 

To be honest, I would prefer a sparsely attended show. I don't like crowds. I don't like the way crowds behave. Large groups of people tend to think that concerts are interactive events where they are free to scream and try to engage the performers in one-on-one conversation. Others feel that the music is merely background noise for their very important conversations, often raising their voices above the volume of the PA system in order to tell their partners what they had for lunch that day. Then there are those who seem to think they are in a room all by themselves for a private recital with a band, regardless of how many or how few other people are there to see the same show. These folks roam freely, flailing their arms in joyful dance and regularly obscuring the view of the stage for a number of well-behaved concert-goers.

The Baseball Project - Scott McCaughey (bottom left),
 Linda Pitmon (center) Steve Wynn (bottom right),
Mike Mills (top left) and Peter Buck (top right).

On Tuesday, my son and I saw The Baseball Project, a so-called "supergroup" currently on a multi-city tour promoting their latest release Grand Salami Time, the quintet's first new album in nearly a decade. What? You've never heard of them? Well, the band is comprised of members of other bands. There's Steve Wynn, guitarist and leader of 80s indie rockers The Dream Syndicate. On drums is Steve's wife Linda Pitmon, who has kept a strong driving backbeat for The Filthy Friends as well as Alejandro Escovedo's band. Also on guitar is Scott McCaughey, who plays with his other bands The Minus 5 and Young Fresh Fellows. Scott has popped up on and contributed to recordings from everyone from Liz Phair to The Monkees. He was a studio and touring member of alt-rock darlings R.E.M. Rounding out the band are Mike Mills and Peter Buck, both former members of R.E.M. and proud inductees in the Rock and Roll Hall of Fame. These five musicians joined up over their common love of rock and roll and the National Pastime, producing four albums (and a couple of EPs) of baseball-centric tunes that are decidedly different from the standard novelty songs of the past like "I Like Mickey" and "Talkin' Baseball." I've seen The Baseball Project several times (including a show in — very fittingly — Cooperstown, New York, home of the National Baseball Hall of Fame). They are fine musicians and songwriters and always present a rollicking (and informative) evening of entertainment.

Following a quick dinner of tacos, my son and I entered the near-empty World Café Live around fifteen minutes before showtime. I secured a spot at the back of the main floor while my boy ran up to the bar to grab a beer. Returning quickly, he handed me a tall cold can of something called "Liquid Death," which, despite its foreboding name, turned out to be plain water. (I don't drink alcohol and he knows it.) He placed his beer on the line of tables immediately behind us. I chose this spot specifically so there was no chance of anyone standing behind us, thus eliminating the possibility of getting pushed forward by some overzealous fan "caught up in the moment... maaaaaan!" As showtime ticked closer, the venue began to welcome more guests, but, it was - by no means - anywhere near its capacity of 700. Not even close. I had high hopes of a well-behaved crowd who would optimistically keep their distance.

Buck.

The lights dimmed and the band members filed out to the stage, grabbing their instruments and acknowledging the crowd with waves and smiles. Linda, seated behind the drums, shouted off a traditional "1-2-3-4" and the band launched into "Erasable Man," a rocking ode to the legacy of Negro League powerhouse Josh Gibson. The crowd bobbed their collective heads and pumped their collective fists and made all the other patented actions executed at concerts by old, uncoordinated white guys. Of course, the darkened audience area was dotted with the glow of raised cellphones, snapping a few photographic souvenirs for perusing and showing-off at a later date. In my peripheral vison, I could see a hulking, white-haired gentleman cradling a small digital camera (not a cell phone) in his palms and aiming in the direction of Peter Buck. Buck was the only member of the band not outfitted with a microphone. He stood silently and nearly immobile for the entirety of the show, plucking his guitar of choice and staring down his bandmates. He rarely, if ever, turned his glance towards the audience. The white-haired gentleman to my left was on a mission to capture every move — or in this case non-move — that Buck made (or didn't make).

Now, don't move.

As the show progressed and The Baseball Project tore through their musical catalog, I noticed that the white-haired photographer was inching his way towards me with each new song. By the time "The Voice of Baseball" (a loving tribute to late Dodgers announcer Vin Scully) began, the white-haired gentleman was right in front of me. I mean right in front, the back of his head a mere inch or two from my nose. Without regard for anyone around him — specifically me — he focused his camera in his raised arms, blocking my once-clear view of the stage even more. Because I was close enough to him (by no fault of mine), I noticed the image in his camera's viewfinder never changed. It was centered on Peter Buck. Exclusively. He did not move to snap a photo of any other band member. He just took photo after similar photo of Peter Buck. And Peter Buck rarely changed position. He switched guitars a few times, removing and replacing an instrument in a nearby rack, only to return to the exact same position on stage left (his right), just behind the energetic Scott McCaughey, who bopped and swayed to the rhythm of each new tune. Nevertheless, the white-haired budding Ansel Adams continued to take what was essentially the same fucking picture while relentlessly encroaching on my personal space. I turned to my son, pointing at the oblivious white-haired gentleman and miming a shrug with my upturned, outstretched palms. My son laughed, leaned into me and said, "Did you miss going to concerts?"

Fifty or so minutes into the show, the band announced a quick break (that they identified as the end of the first game of the double-header). They would be returning for a second set and the house lights brightened in the meantime. Surprisingly — and even better — thankfully, the white-haired gentleman exited the venue and did not return for the second set. I suppose he captured every non-movement that Peter Buck didn't make to his satisfaction. Perhaps he was just one of the many devoted R.E.M. fans in attendance, still hanging on to the vivid memories of the band and trying to relive the Athens rockers' glory days. Perhaps he was gathering research and reference material for a proposed tribute to the R.E.M. guitarist in the form of a painting or even a sculpture. Perhaps he was a member of the extended Buck family, tasked to provide a pictorial chronicle of the celebrated cousin/brother/uncle on the second wave of his stellar career.

Or perhaps I was just happy that I could see the stage again.

www.joshpincusiscrying.com

cut the cake

My mother-in-law's birthday was a week or so ago and my wife thought it would be nice to buy her a little cake to celebrate the occasion. Mrs. Pincus happened to be out on a weekly grocery run to pick up staple items for our house as well as for her parents. She found herself a BJ's Wholesale Club, a sprawling nationwide operation that — in these strange times of social distancing — allows for such practice purely because of the vast size of the building. BJ's Wholesale Club is roughly the size of an airplane hangar and, like Costco and Sam's Club (its closest competitors), stocks its items on huge, multilevel shelves in wide aisles. Shoppers have no choice but to keep six feet apart... unless you encounter someone who just needs to grab something off the shelf at which you are standing. Then, they will practically climb into your shoes with you — pandemic or not.

In addition to the multi-aisle displays of flat-screen TVs, fleece pullovers and work pants piled to the ceiling and 10-pound packages of cloves, BJ's Wholesale Club features a bakery right on the premises. Mrs. P scanned the shelves of the open refrigerated case where a variety of birthday cakes were on display, all ready for an on-the-spot celebratory inscription of well-wishes. My wife selected a small blue & white frosted cake, protected from the elements by a small clear plastic dome. She slowly approached an opening in the service counter where she spotted a young man in a paper hat busily squeezing a colorful rope of frosting from an overstuffed piping bag. She held the cake at eyelevel as she walked, carefully turning it in her hands and checking for imperfections in the way the frosting was applied. Satisfied, she was about to hand it over the to the young man at the bakery to inquire about an inscription... when her plans were interrupted.

Or hijacked, as it were.

A man approached the service counter of the bakery, beating Mrs. Pincus by about three steps. Mrs. P instinctively stepped back. The man bellowed in the direction of the young man at the bakery.

MAN: Hey! HEY! You got cakes? Birthday cakes?

BAKERY MAN: Yes sir. Right over here. (He gestures towards the ten-foot long bakery case over which an enormous sign reading BIRTHDAY CAKES hangs.)

MAN: Oh. Right. (He makes no attempt to move towards the bakery case.) Can you write on a cake? Can you do that? Write on a cake? I need a cake with Happy Birthday written on it.

BAKERY MAN: Yes. Would you like to get a cake from the ones over here? (Again, he points to the shelves filled with cakes.)

MAN: Can you write... like... Happy Birthday on it? It's for my son. For his birthday. For his tenth birthday. Can you write something like that on it? Happy Birthday or something?

BAKERY MAN: Sure. Once you pick out a cake, I can write anything you like.

MAN: (Still ignoring the entire display of pre-made birthday cakes): I want Happy Birthday... y'know... for his tenth birthday. Can you do something like that?

(The BAKERY MAN picks up a pen and paper and hands it in the direction of the MAN. He does not accept it.)

BAKERY MAN: Just write down what you'd like it to say on the cake and I will write it... once you pick out a cake.

MAN: Just... y'know... like Happy Birthday.... um... Happy Tenth Birthday. Y'know, something like that. Can you do that? Y'know... like Happy Birthday, like I said?

BAKERY MAN: If you can write down exactly what you want on this paper... and pick out a cake... I can do whatever you'd like.

MAN: Just... um, Happy Birthday... you know. Oh wait.... let me call my wife. She'll tell me what she wants on the cake. She always takes care of this stuff.

The man pulls a cellphone from his pocket and lumbers off in the direction of the grocery section — which is opposite where the birthday cakes are on display.

At this point, a very patient Mrs. Pincus takes the pen and paper and writes out the inscription she would like on her cake. She noticed the young man at the bakery shaking his head.

www.joshpincusiscrying.com

that's what you get for being polite

I have a question. What is the correct amount of times one needs to say "excuse me, please" to get the person blocking you to move? One? Two? Six? Is it a trick question, because, oftentimes that person never moves.

Since my wife and I started eating salads for dinner — almost exclusively — about a year ago, I find myself in the supermarket several times a week. I go often to replenish basic fresh salad ingredients — tomatoes, lettuce, cucumbers, carrots. You know, stuff that doesn't have a very long shelf life. My supermarket trips don't last very long, as I make a beeline to the produce section, pick up what I need and scoot. Sometimes, my "scooting" is not as quick as I'd prefer. Thanks to the arrogance of other shoppers.

This afternoon (Sunday) I left my house fairly early (for a Sunday) to pick up a prescription at the pharmacy. Then, I headed over to the supermarket to grab a few salad items that needed restocking in our refrigerator. In less than five minutes, I had everything I came for in my cart (except for scallions, which a clerk told me: "we are having a hard time ordering." I didn't believe him, as his explanation had that "I'm making this up 'cause I couldn't be bothered to find out" tone) and made my way to the self-checkout. I wasn't about to waste my precious time while a bored cashier examined and commented on every one of my purchases. 

One by one, I scanned each of my items, entering produce codes manually when requested. I bagged my purchases and then slid my credit card into the scanner, removing it when prompted. I loaded my bags back into my cart and prepared to make my exit from the store.

However...

As I was checking out my items, I spotted something in my peripheral vision. A man with a full shopping cart moved into position at the checkout station next to me — approaching from the wrong side — thereby avoiding the customer queue line. Since I only had ten or so items and I scanned them with efficiency and I finished long before my new colleague did. But, my fellow shopper had his cart positioned in such a way that it did not allow me access to leave.  I frowned.

I offered a friendly (well, friendly for me) "excuse me, please." I like to think that, although I am often accused of being a "curmudgeon," I am polite. I am not an instigator. I avoid conflict as much as I can. But, I will speak up if I believe I am right. And, in this case, I was right. This guy was blocking my exit with no regard for anyone but himself. His cart was crooked in the aisle and it was inconsiderate. My "excuse me" was met with absolutely no reaction. None. He made no attempt to move his cart an inch. I frowned again.

"Excuse me, please." I repeated myself, something I don't like to do, especially if I am being totally ignored. Again, this man continued adjust and survey the items in his cart, selecting and scanning. He was doing everything except changing the position of his cart. I thought for a moment. "How many more 'excuse me's will it take until this guy finally acknowledges another human being in his world?" (Unfortunately, I have run into this rude, self-absorbed behavior before. From adults, no less.)

So here we are at an impasse. He entered the self-checkout area from the exit side. He was blocking the aisle with his cart parked across the access lane. And my repeated pleas of "excuse me" were falling upon deaf ears. I repeated my "excuse me" again, this time sans "please." A customer at the terminal across from my rude shopping neighbor pulled his cart closer to afford me some room to slip by. I nodded to the other customer and sarcastically (and loudly) "thanked" the fellow next to me as I pushed my cart past him. He looked up with a scowl, as though I was disturbing him.

I suppose, in his world, I was.

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all I want is a proper cup of coffee

 

Many years ago, Mrs. Pincus and I purchased a Keurig coffee maker and it was one of the best purchases we ever made. I love having a cup of coffee every morning, but brewing it in a coffee pot is time-consuming. The Keurig is easy to operate and very convenient. Sure, it's not exactly environmentally friendly. Actually, the single-serving patented K-cups are not recyclable. But, we are hoping that one day, they'll figure out a way to recycle them. (Honestly, Mrs. Pincus is more concerned about the future of recyclable K-cups. I don't really care.)

curse ya! curse ya! curse ya!

Recently, we had been finding a small puddle on our kitchen counter near the water reservoir of our Keurig. Thinking it was just an errant spill, it was sopped up with a paper towel. But, everyday there was a puddle again and, some days, the puddle was bigger that the day before. So, we started looking at new models of Keurig coffee makers to replace our current one, which obviously had seen better days. It still worked, but age had gotten the better of it.

Through some creative finances, including cashback incentives, reward points and discounts, Mrs. P managed a terrific deal on a brand new Keurig coffee maker. When she brought the new one home, I unpacked it and set it up in the spot on our kitchen counter, previously occupied by our old, leaky Keurig. I read over the new instructions, noting a few new features. The old Keuring sat on the counter, off to the side, its power cord coiled behind it like a dead snake. It silently awaited its fate. The ever-enterprising Mrs. P first suggested that it be stored with a collection of odds and ends on our back porch, waiting for the first nice day next spring, when it could be offered for second-hand purchase at our annual yard sale. But, Mrs. Pincus came up with another idea. She took a bunch of pictures of our old Keurig and offered it for sale on a few local "Facebook Yard Sale" pages. A brand new Keurig can run upwards of one-hundred-plus dollars. My wife put a twenty dollar price tag on it, with full disclosure of the water leak and she accompanied the post with a number of pictures showing our once-loyal Keurig from every possible angle, as though it was on a coffee maker "Wanted" poster.

...with diamond legs and handles

On Saturday, just a few days after Mrs. P placed the listing for our Keurig, she got a message from an interested potential buyer. The first thing the "buyer" asked was "Will you take ten dollars for it?" Mrs. Pincus frowned. "No, I will not.," she thought. These things are over a hundred bucks and this still works with a slight inconvenience. Hell, we were just using it last week. A quick swipe with a paper towel and your problems were solved. We began emptying the reservoir and only filling it with enough water to make a single cup of coffee. So.... twenty dollars was pretty reasonable. And from the pictures, one could tell it was in really good condition. The "buyer" countered at fifteen dollars. Not wanting appear as "the jerk," my wife sighed and consented to fifteen dollars. She then began making arrangements to meet the "buyer" on Sunday for the exchange. The "buyer" lives in Glenside, a small community not too far from our own small community. Mrs. P suggested the parking lot of a 7-11 that was midway between our two houses. The "buyer" agreed and a time a bit after noon was agreed upon. I loaded the Keurig into the back of my wife's car and she drove off to meet her "buyer."

A little over twenty minutes later, she pulled her car into our driveway. She had a look of vexed disgust on her face.

"What?," I asked, my single word inquiry covering the entire realm of my curiosity. I spotted the Keurig in the back of the car, in nearly the same spot I had placed it.

Mrs. P explained, "I got out of the car. I opened the back door and took out the Keurig. I turned around, holding it in my hands. The guy looks at it and says 'That's not what I want.' I turned around, put it back in the car and drove away."

Then she added, "I don't have time for this shit."

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this year's girl

This past weekend*, Mrs. Pincus and I were, once again, basking in the beautiful weather and beautiful sounds of the Xponential Music Fest, an annual three-day outdoor event on the Camden, New Jersey waterfront, just across the Delaware River from Philadelphia. The festival is put on by my favorite radio station (and current employer of my son) WXPN-FM. My family has always loved live music and we are avid concert-goers. This festival is a massive logistical undertaking, yet — year after year (and there have been 26 of  'em so far) — it appears to be effortless.

In recent years, there has been a partnership with the mighty Live Nation concert promoter to cap a couple of nights off with a major act that happens to be playing at the giant venue next door to the natural amphitheater where the festival is held. At around 6:30 in the evening, after a full day of performances, those with the proper admission ticket package can pack up all of their stuff and head over to the BB&T Pavilion (or whatever it's called this week). Past years have featured indie darlings Wilco, the Godfather of Quirk David Bryne and even the venerable Bob Dylan. This year's feature was a double bill of Elvis Costello and Blondie.

As the sun set over Philadelphia, my wife and I, along with a gazillion other faithful XPN listeners made our way over to the BB&T Pavilion for the last two sets of the evening. Through some creative methods that I won't elaborate upon at this time, Mrs P and I usually spend our time at the BB&T Pavilion on the "River Deck," a special VIP section provided by show sponsors Subaru. The River Deck offers a panoramic view of the entire venue on one side and spectacular sight lines of the skyline of The City of Brotherly Love on the other. Subaru puts out a spread of snack foods, including homemade potato chips and Philly staple soft pretzels. After Blondie's set, which played out like a greatest hits performance, we were approached by a Subaru representative and, as fans of the Grateful Dead say, we were "miracled." He handed us four tickets for a reserved box waaaay down near the stage. XPN Festival passes include admission to the BB&T Pavilion, however your "seat" is actually whatever size patch of grass your butt occupies on the sloped lawn behind the actual seating area. We happily took the tickets and started down the steep walkway towards our new seats. At first we offered the tickets to folks we knew (including our son and his friends), however all attempts were graciously declined. It seemed that everyone was comfortable stretching out on the lawn in the balmy twilight that now enveloped the South Jersey area. With the help of a young usher, we located our seats... two of which were currently occupied by a woman who, by the looks of her immediate surroundings, was working on her fifth or sixth beer. She explained in a roundabout, slurred and somewhat incoherent manner, that her friends had tickets in a different section and would be joining her. We smiled and said we only need two seats, even though we had four tickets. We slid past her and nabbed the last two seats at the end of the sequestered row. The woman got visibly annoyed when my wife put her bottle of water in the cup holder at the end of the communal armrest. Mrs. P pointed out that there was another cup holder that could be used, but the woman wasn't happy about having to stow her beverage on her right.

When the show began with the opening drum beat of "Pump It Up," our inebriated seatmate leaped to her feet, swaying her hips in a too-wide arc and splaying her arms out of her personal space. In the dark, we watched her fumble around in the purse that was swinging from her wrist, finally extracting a cellphone to snap a series of out-of-focus pictures and record some blurry video that she would never ever watch. For the entire 70 minute set, Elvis Costello had an audience of one — and she was trying to remain upright nearby Seat 6 in Reserved Box 220. This woman next to us was the only one in attendance. She had to have been, as she threw herself from side to side, spread her arms wide in pseudo-crucifixion and jumped up and down, not always making a three-point landing. Her behavior was quite annoying — to us, to the couple in front of us, even to the friends that finally arrived from their other assigned seats. At the end of the encore, with the entire house on its collective feet, our concert neighbor jumped and screamed and took pictures of the venue's ceiling. It took several polite "excuse me"s to get the attention of this woman before we were granted access to the aisle to exit... and even then she was not happy about it.

We had a good time. The concert was great. Someone, however, had a better time at the expense of everyone else.

* Note: this post was written at the end of July 2019.

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get back to where you once belonged

Although we pay nearly three hundred dollars a month for cable service from the good folks at Xfinity, giving us access to a wide variety of entertainment options in the privacy of our home, Mrs. Pincus and I sometimes do venture out to a good old-fashioned movie theater. While I certainly love movies, I don't care for people. And that's exactly what we encountered last Saturday.

My wife and I made plans to meet my brother Max and my sister-in-law (no, not that one... the other one) for a rare "double date" night, My sister-in-law purchased discount tickets at a local Costco and was surprised by the "pick your seat" option that was available. From my recollection, movie theaters never offered reserved seating, but it certainly makes sense. Reserved seats are available at almost every other venue where public seating is offered — Broadway theaters, concerts, sporting events, you can even throw airline flights into that mix. Actually, now that I think of it, we previously purchased reserved seating for movies on our several, ill-fated visits to our nearby Movie Tavern. So maybe other movie theaters are just catching up. And it makes perfect sense, too! With reserved seats, you don't have to rush to the theater and scramble for choice seats — especially if you need to find more than two seats together. (That is, if you don't want to split up your party.) With reserved seating, your seat will be waiting for you when arrive, no matter what time you arrive.

My sister-in-law scored four seats at the end of a row, selecting a location midway up in a theater that offered stadium-style seating. Perfect! We could meet early for a leisurely dinner and then make our way to the theater at our own pace and not worry about the hassle of scanning a crowded theater for four seats together. Our chosen movie was "Yesterday," the latest Danny Boyle-directed fantasy tale of a young, struggling musician who, after waking from an accident, realizes he's the only one in the world who remembers the Beatles. The movie, after receiving a modest amount of pre-release hype, had opened the night before our little "family night at the movies" and the suburban multiplex would likely be crowded. But, we had no worries. At least not yet.

We met at a Ruby Tuesday's* that occupies a pad site in the parking lot of the theater. After dinner, as we exited the restaurant, my sister-in-law distributed the tickets and I tucked our pair safely in my wallet. We got in our respective cars and drove over to the larger lot nearer to the theater. We met at the front of the theater and entered. We determined which of the twenty-two auditoriums was our destination and headed down one of the long hallways that branched off from the main lobby. My wife and sister-in-law excused themselves for a quick visit to the ladies room, leaving my brother and me to meet them at our pre-determined seats.

Reserved!

Max and I entered the semi-darkened theater. The enormous screen was alight with commercials for the concession stand and other commerce-enticing information. We took note of the large, prominent aisle designations affixed to the base of the end seat of each row. We mentally ticked off each one until we arrived at Row H. The end seat — Seat 12 — was empty, its padded cushion in the upright position waiting to afford comfort to its rightful ticket holder for the 7:30 showing. The next three adjoining seats, however, were occupied by three women. As showtime was fast approaching, there were only a few single seats scattered throughout the near-capacity theater. My brother and I exchanged puzzled glances. He had an expression on his face with which I was very familiar. It was a combined expression of exasperation and annoyance. I had seen it regularly in our youth — and I was usually the cause.

I spoke first. I said to the woman closest to me, "I believe you are in our seats." I tried to have no inflection of anger or accusation in my voice. Perhaps it was an honest mistake. Perhaps they were not aware of the reserved seating policy. After all, we were not greeted by an usher of any kind. We were not asked for our tickets and then guided to our appointed accommodations for the evening. The woman furrowed her brow and, with a raised, sweeping hand, gestured to the rest of the theater. "Oh, you can just sit anywhere," she bluntly stated in reply to my indictment. I think I could hear my brother's blood actually boiling in his veins. I could feel the anxious adrenaline coursing through my system in anticipation of a confrontation I did not wish to happen. I hate confrontation. I'm not good at it and I would rather remain silent. My brother, on the other hand, has never been one to stand idle while shit is forced in his direction. Perennially athletic and physical, he has always stood his ground in a calm, authoritative, and somewhat menacing, manner.

I told my brother that I was going to speak to a member of the theater's management. I started down the steep steps with my destination being the lobby. I tracked down a man in a mismatched suit gripping a comically-large walkie-talkie that looked as though he filched it from the set of "M*A*S*H." He sported a name tag engraved with "MANAGER" pinned to his too-wide lapel. I explained the situation transpiring right now in Auditorium 3. He assured me that a security representative would be there to assist momentarily. I felt no sense of urgency in his promise and no authority in his authority. Unsatisfied, I reluctantly returned to check my brother's progress.

Not actually my brother.

Again, I entered the theater and ascended the steps towards Row H. There was my brother, my sister-in-law and Mrs. Pincus sitting in Seats 9 through 11... with Seat 12 on stand-by for my derriere. I took my seat and leaned over to ask Max to fill me in on the chapter of this story that I missed. In a totally unaffected tone, he said, after I left, he went back to the woman and calmly stated that she and her friends were in seats that they did not belong in. "I asked you once nicely," he said, most likely in a slow and deliberate timbre and through clenched teeth, "You need to get up and go to the seats that are printed on your ticket. These are not your seats." After a few seconds, the three women rose and pushed their way past my brother, not offering any sort of apology or even glancing in his direction. 

Mr. Movie Theater Manager's security never showed up. We didn't really need them. 

We brought our own.

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*I still have not published my rant about my awful Ruby Tuesday's experience that I wrote four years ago. Maybe someday...

This is the 500th post to this blog. Thanks for reading!

goin' down the road feelin' bad (redux)

Early on Saturday afternoon, Mrs. P and I set out to run a few small errands. We pulled out of our driveway, drove down our street, eventually making our way to Church Road, a main thoroughfare in our small, suburban community. Wait. Don't get the impression that Church Road is a bustling freeway with on and off-ramps. It's not even a sleek multi-lane boulevard. Church Road is a winding macadam covered street that twists and turns through several quaint hamlets in Cheltenham Township. In most places, it narrows to a single lane in each direction where passing cars are so close drivers could shake hands if they so desired (and slowed down enough).

My wife maneuvered her car onto Church Road and we headed east. Within a minute of our journey, we found ourselves behind a Porsche 911. Mrs. P pointed out that it was the type that her brother always talked about and, one day, hoped to own. (The closest he came was purchasing one of the German automotive maker's early forays into the burgeoning SUV market. Sometimes the line between "sporty" and "sensible" is a thin one.) No sooner had she delivered this little anecdote, than the Porsche ahead of us slowed to a crawl. It crept along casually. I saw that traffic behind us was beginning to accumulate, as this section of Church Road had a single eastbound lane. Any attempt to skirt around on the shoulder would send a driver rambling across someone's front lawn. Suddenly, the Porsche coasted to a complete stop in front of the driveway access of a house sitting on an elevated plateau of manicured grass about seventy-five feet from the street. The Porsche's hazard lights sprung to life, blinking in a regular pattern in its elegantly-designed taillights.

And it sat.

And sat.

And sat, while traffic behind us stacked up with more and more cars. We could see the silhouette of two people inside the Porsche — a driver and a passenger — but there was minimal movement. After thirty or so seconds, the passenger door swung open and a male leg extended into view. Slowly, the owner of the leg extracted himself from the passenger seat. Once fully out of the car, he leaned his head and shoulders back inside to fumble around with something. Again, he stood up, this time, however, he was holding the long cloth handles of a dark duffel bag. The man stood for few more long seconds and, through a full grin, offered a few more long sentiments of farewell to the driver.

There must have been at least a dozen cars stopped behind us on Church Road. Stuck. Helplessly stuck. This, obviously, was of no concern to the driver of the Porsche or his passenger. He waited until his colleague ascended the driveway and climbed the stone steps to the house. Then — and only then — did he disengage his flashers and pull away from the foot of the driveway...

.... only to pull into the very next driveway a mere ten feet further. The driver threw the Porsche into "PARK" and killed the engine. It may have even been less than ten feet.

This reminded me of a joke I once heard. A very wealthy man solicited an uneducated handyman for a job. "I'll give you twenty dollars to paint my porch out back.," the wealthy man explained. He directed the handyman towards a pail of gray industrial paint and a couple of brushes. The slack-jawed handyman headed into the wealthy man's backyard. Two hours later, the handyman returned for payment. "All finished!," he announced and he accepted two tens from the wealthy man. As he shoved the bills into his shirt pocket, the handyman remarked, "I don't think that's a porch, though. I think it's a Maserati."

Maybe this guy will be in need of a handyman someday.

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