walk right in, sit right down

On Saturday evening, Mrs. Pincus and I went to Philadelphia's beautiful World Cafe Live to see the first of two performances by British popster Nick Lowe and those masked men of instrumental rock Los Straitjackets. But that's not what this story is about.

World Cafe Live is currently celebrating its 20th anniversary as one of the best concert venues in the City of Brotherly Love. The venue boasts two stages — a smaller, more intimate space known as "The Lounge" on the street level and the main stage, named "The Music Hall," located two flights down. The Music Hall accommodates approximately 650 people. Depending on each particular evening's performance, the room is sometimes a wide open space dotted with tall bistro tables at which patrons can stand, lean and rest their drinks. Other times, tables are set up in various configurations based on ticket sales. A more popular act will feature more open space and fewer tables. Often, when reserved tickets at a table are sold, a dinner menu is offered to those who arrive early for a show. On this night, the floor was open with six tables set up along the back wall of the lower level — three on each side of the area housing the audio mixing equipment and the folks operating said equipment. Each table was set to seat eight people and each of these tables sported a very noticeable "RESERVED" sign at the end that was not butted up against the rear wall. On the upper level, just in front of the bar that runs the length of the back wall, were eight smaller tables — each one displaying a similar "RESERVED" sign on its surface. Upon closer inspection, one table — 304 — was the only one not designated as "RESERVED." We were one of the first people through the doors and we looked around to confirm that the seats at Table 304 was indeed free for the taking. Mrs. P and I grabbed two chairs at the back of the table while a few other folks with General Admission tickets (like the ones we had) joined us. Each one asking "Are these seats reserved?" or "Is it okay to sit here?" or some other variation of the same inquiry. As though we were some kind of Welcoming Committee, Mrs. P and I gestured toward the six available chairs until they were all filled. It was still nearly 45 minutes before showtime. The place was filling up. Hosts and hostesses were leading people with reserved seat tickets to the tables surrounding us.

(The two red dots are where Mrs. Pincus and I sat. The other dots were taken by our fellow concert-goers holding General Admission tickets)

The man from the couple sitting at the front of Table 304 was visibly nervous and jumpy. The man and woman seated opposite us reconfirmed that this table was not reserved. Mrs. Pincus laughed and said, "If anyone asks, I will pretend I don't speak English." I bolstered my wife's assertion with a joke about a man in a car asking a police officer if it was okay to park in an empty space behind a long line of cars. The policeman said, "No! This is a No Parking Zone. If you park here, you'll get a ticket." The man pointed and said, "What about all these other cars?" The cop replied, "They didn't ask." The other couple chuckled (I don't think they got my joke) and we all sat firm and defiant on our seats.

With thirty minutes until showtime, the jumpy guy at our table scurried off for a few minutes. He returned, loudly commenting to his partner that he asked about the "reserved status" of our table. He was told that all the seats were reserved and we may — may — be asked to leave Table 304. I instantly thought of that kid in elementary school who would anxiously raise his hand two minutes before the dismissal bell would ring to remind the teacher that she forgot to give a homework assignment to the class. As showtime grew nearer, several more of our table mates had to relinquish their claims when the rightful owners presented their reserved tickets. As the minutes ticked off, we sat like Charles Whitman's targets innocently making our way across the University of Texas campus. The jumpy guy and his mate were the next to go, followed by the couple across from us. The final seats (except for ours) were taken by a man with a prominent gray pompadour and a woman wearing waaaaay too much perfume. Way, way too much perfume. (Years ago, Mrs. P and I had boarded a very crowded plane. With the plane filling up, there was still an empty seat next to me. We watched a woman board the plane and begin to make her way down the aisle, Mrs. P pointed out that she saw this woman in the ladies room just prior to the boarding announcement. She noted that this woman may have knocked over a cosmetic display because she positively reeked of perfume. Just as my wife finished pronouncing the word "perfume," the woman sat down in the empty seat next to me. And she did indeed reek of overpowering perfume.)

Finally the house lights dimmed and Nick Lowe and Los Straitjackets took to the stage. Mrs. P and I still sat firm in our seats, still not asked to move. Two or three songs in, we were still there. I thought of the times I have attended baseball games and watched people holding tickets to seats adjacent to ours show up in the third or fourth inning. Lowe and the band tore through song after song. By the time the show reached the midway point, I figured we were safe. As a matter of fact, we sat undisturbed through the entire second set.

The nearby air stunk like a French whorehouse, but at least we had seats. And we beat the system.

www.joshpincusiscrying.com

happy together

I have to admit. The only reason I wanted to go to this show in the first place was my overwhelming desire to hear a 65-year old Susan Cowsill scream "...and spaghetti'd" in the closest approximation of her 10-year old self. Everything else was a bonus.

To be honest, concerts like these make me cringe and I have unabashedly railed against them for years. Every time I see an ad or promo for an upcoming show featuring the remnants of a once popular band from thirty (or longer) years ago, I will rhetorically question "Who goes to these shows?" Within the past few weeks, a bunch of creaky old men who were once the high-and-mighty Rolling Stones packed —packed, I tell you! — Lincoln Financial Field (the home of the Philadelphia Eagles). With tickets going for around a hundred bucks a pop, I still scratch my head and wonder: "Who goes to see The Rolling Stones in 2024?" The answer, apparently, is 67,000 people... in Philadelphia, at least. By the way, The Rolling Stones are down to two original members, although guitarist Ron Wood has been with them for nearly fifty years.

There are other bands currently waging tours — some even farewell tours. It's your last chance to catch 70s pop rockers Foreigner as they cross the country, waving "goodbye" to their legions (I guess?) of fans. But, be warned. The current incarnation of Foreigner is just singer Mick Jones and a band of guys who never played on a Foreigner album. It is my understanding that, due to health concerns, Mick Jones has missed the majority of dates on this tour. So, with ticket prices ranging from $40 to $95, this is essentially a Foreigner cover band. And, speaking of cover bands, Dead & Company, the Grateful Dead-ish collective who sort-of called it quits last summer, are back and trudging through a residency at Las Vegas's newest showplace The Sphere, much to the delight and obliviousness of Deadheads still holding on to the hope that Jerry Garcia will make a surprise appearance. (Spoiler alert: He won't.) Dead & Company guitarist John Mayer was 12 when the last Grateful Dead studio album was released.

That said, back in March, I bought to tickets to a show that goes against everything I stand for musically and is a reflection of everything I spent two paragraphs making fun of. And guess what? I don't care. The Happy Together Tour has been entertaining time-challenged music lovers for going on — get this — forty years! The line-up has varied over the years, but the concept has not. Headlined by 60s popsters The Turtles, The Happy Together Tour has featured a rotating collection of bands spanning the early 60s up to the middle 70s. The six bands included on each tour has something for every musical taste — providing that your musical tastes never evolved past the Nixon Administration. (For those of you too young to get that joke, Nixon was a President of the United states in the 1970s.) There are doo-wop holdovers, radio-friendly bubblegum one (or two)-hit wonders, pseudo-psychedelic hippies and a little bit of something in-between these specific genres. The two-hour-plus show allows for four songs from each group and a slightly extended set from The Turtles to cap things off.

This past Wednesday, Mrs. P (a somewhat reluctant Mrs. P) and I drove over to the nearby Keswick Theater to redeem our tickets and see what this thing was all about.

First off, my wife and I brought the age range waaaaaaay down. As I looked around, I covertly whispered to Mrs. Pincus: "Are we as old as these people?" Without even glancing up, she said: "Well, you are." I was fascinated! Mesmerized! Did I actually grow up listening to the same music as these people?  As folks filed in — slowly, very slowly — my wife spotted a fellow she recognized in the row in front of us. It was a funeral director from a prominent Philadelphia mortuary, Coincidentally, she had just run in to this guy at a funeral just a week or so ago. It was somewhat comforting knowing that he was in attendance... y'know.... just in case. And by the looks of the crowd, well, I wouldn't have been surprised if his services were employed on this evening.

Soon the lights lowered and the disembodied voice of national DJ Shadoe Stevens announced the evening's first guest — The Cowsills. The Cowsills enjoyed a surge of popularity for a few fleeting years in the fun-loving, carefree 1960s. With radio-ready hits like "The Rain, The Park and Other Things" (you know... "I love the flower girl..."), the politically-incorrect "Indian Lake" and their scrubbed-clean take on the counter-culture anthem "Hair," The Cowsills were the inspiration for TV's Partridge Family. Little Susan is now 65 and has had an pretty successful music career of her own. She performed and toured with Dwight Twilley as well as her own band The Continental Drifters with then-husband Peter Holsapple, late of the db's. She is a staple on the rich New Orleans music scene and can often be seen singing in one of the many clubs in the famed French Quarter. But, tonight she and her older brothers Bob and Paul are flashing back to a time when flower power was "a thing" and peace signs were flashed unironically. Original members Bill and Barry, along with Mom Barbara, have all passed away, The remaining siblings ripped through their hits, including an extended version of the Love, American Style theme song (ask your parents) and quickly cleared the stage for the next act.

Here's where thing started to get a little weird. Joey Molland was announced with a rundown of titles made popular by Beatles protégés Badfinger. A lanky fellow with long, gray tresses took the stage and launched into a barrage of familiar tunes, none of which were originally sung by this guy. The crowd didn't care. They knew the songs and they knew the words and they understood that this is the greatest music ever put to record and runs circles around anything thing that Justin Timberwolf or Billie Irish does. Joey is the last surviving member of the classic Badfinger line-up. In 1983, original bassist and song writer Tom Evans took his own life. The night before, he had a vicious, friendship-ending argument with Joey Molland over royalties from Badfinger's song "Without You," a tune covered by dozens of artists. Although he played on the original recording, Joey had absolutely nothing to do with the song's composition, yet he felt he was entitled to monetary compensation. Joey did not perform "Without You" in his set of four Badfinger songs.

After Joey and before a brief intermission, three guys in iridescent suits sang a quartet of familiar doo-wop-y songs though smiling faces. Identifying themselves as The Vogues, the trio consists of no original members. Tenor Royce Taylor joined the group in 1991, twenty-three years after the group's last charting hit. His bandmate, Troy Elich, joined the group in 2023. Their set evoked a lot of "Oh, I didn't know this was them" murmurs throughout the dimly-lit audience. But, they sang "Five O'Clock World" and everyone was happy.

When the place refilled after intermission, 60s hitmakers The Association reignited the crowd with an airy rendition of "Windy." Between songs, they cracked a few age-related, self-deprecating jokes before lighting up the place with "Never My Love," "Cherish" and an impossibly-accurate reading of "Along Comes Mary." They also reminded everyone that they kicked off the legendary Monterey Pop Festival in 1967. Well, not everyone. There are just two original members of The Association currently touring. Some audience members needed to be reminded of the impact the Monterey Pop Festival had on the 60s music scene. Later, those same folks needed to be reminded where they parked their cars.

Jay & The Americans were next welcomed to the stage. There is a Jay, but he's not that "Jay". He's not even that other "Jay." But he is a "Jay." Actually, those other, more famous "Jays" weren't really "Jay" either... but I digress. The Americans boast two original members from their hit-making heyday. Their current lead singer has a similar soaring vocal style as his predecessors. He was able to successfully recreate songs like "Cara Mia" and "This Magic Moment" (which may or may not be the same song) in such a way as to please the auditory limitations of the evening's audience. They ended with... maybe "This Magic Moment" again... I'm not sure.

As the night drew to its climax, what was left of The Turtles ambled out to the stage. The Turtles, best known for their sunshine-y, kind of humorous, ditties are down to one original member... and he's not even the lead singer. Also known as "Flo & Eddie," the duo that was the core of The Turtles, sang with Frank Zappa, T-Rex and Bruce Springsteen. They even provided songs for children's programming like Care Bears and Strawberry Shortcake. In 2018, Howard Kaylan (the "Eddie" of "Flo &...") was told by a doctor to stop touring in the wake of heart surgery. Mark Volman (the "Flo" of "...& Eddie) recruited Archies (yep, the cartoon band) vocalist Ron Dante to join The Turtles, as Volman had only provided backing vocals, limited percussion and wacky stage antics. Regardless of who was singing lead, this version of The Turtles wowed the crowd with "Elenore," "You Know She'd Rather Be With Me" and "It Ain't Me Babe," including a horribly-accurate Bob Dylan impersonation by Mark Volman in a raucous "bite the hand that feeds you" moment. Ron Dante was afforded a solo on "Sugar Sugar," with nary a mention of his other musical accomplishments over the decades. (He sang lead for The Cuff Links, provided lead vocals for various television show theme songs and produced the first nine Barry Manilow albums.) Of course, the set's coda was the title song of the tour — "Happy Together." The bouncy "bah-bah-bah"-driven tune brought the aged audience to its feet, happily joining in on the simple chorus upon instruction from the stage. And then, in a moment reminiscent of the final act of Disney's Enchanted Tiki Room or every M. Night Shyamalan movie, Volman and Dante invited the evening's performers back to the stage — one by one — to sing a few bars of one of the songs they sang in their set.... even though we were all here and it just happened an hour ago or less! The Cowsill siblings repeated the chorus of "The Rain The Park and Other Things," as Dante announced "THE COWSILLS!" Yeah! We know! We here here for them! That was us, remember? Each band came out in order of previous appearance, offered the Cliff Notes version of their big hit, and then segued back into "Happy Together." It was odd, to say the least. It was fun, to say the most.

The lights came up. The audience rose, some grabbing their canes or walkers or oxygen tanks, and shuffled out to the exit aisles. Mrs. Pincus, who admittedly had some trepidation about attending this event, was pleased. She had fun.

And I got a blog post out of it. As well as something else checked off my list.

www.joshpincusiscrying.com

just don't tell 'em you know me

I've been to a lot of concerts since my first in 1975. I've seen good shows. I've seen bad shows. I've seen forgettable opening acts. I've seen memorable opening acts, including some that I had not previously heard and ended up buying their albums and becoming a fan (New Zealand new wavers Split Enz comes to mind). Conversely, I saw some awful performances by headlining bands. I have also had some unusual concert experiences that had very little to do with the actual music.

I met the future Mrs. Pincus in February 1982. In April of that same year, I was taken (dragged? abducted? forced?) to my first of many Grateful Dead concerts. The future Mrs. P was a long-time, devoted Dead Head and the veteran of many, many shows by the time our paths crossed. I, on the other hand, was not a fan of the San Francisco hippie holdovers. My musical tastes leaned more towards.... well, I could never quite pigeonhole my melodic preferences. I liked showy, flamboyant performers —those who (I felt) — gave a concert-goer a show. Like a real show! I wanted to be entertained. I saw original shock-rocker Alice Cooper dance with six-foot tall spiders. I saw Elton John execute acrobatics on his piano stool while decked out in sequins and feathers. I saw Ian Anderson, Jethro Tull's charismatic front man, balance on one leg while spinning his trademark flute deftly between his fingers. And I saw the incomparable Freddie Mercury... well... you know how Freddie Mercury held his audience spellbound in the palm of his hand. More recently, I saw Nick Cave stalk and prowl the stage while giving the crowd evening full of his trademarked brand of malevolent spectacle.

But the Grateful Dead? They just stood on the stage and played music, The actual "showy entertainment" was right in the audience. While the band noodled their way through one similar-sounding song after another, the audience twirled and swayed and danced and writhed... either to the music the band was producing or to the music that was constantly playing in their collective heads. The jury is out. I sat in my seat with my girlfriend (in her "pre-Mrs P" persona) and my future brothers-in-law — one a tie-dyed-in-the-wool road-weary follower of the Dead and the other, a budding "Dead Head-in-training." And me? I listened and marveled at the scenes playing out all around me. Not being especially familiar with the Grateful Dead's musical catalogue, several times I asked Mrs. P-to-be the name of the song the band was playing. She happily informed me, smiling, in hopes I was — perhaps — expressing an interest in her favorite band. Twenty minutes later, I asked the name of this song, to which she frowned and replied: "Same song." It looked like joining the fold of Dead Head-dom was not in my future.

A few months later, I found myself accompanying soon-to-be Mrs. Pincus, her older brother and her friend Randi (remember Randi?) to Philadelphia's Tower Theater to see not one, but two shows by Grateful Dead sage Jerry Garcia and bassist John Kahn. We had tickets to both shows, much to my chagrin. Admittedly, I was the odd one out, as my three colleagues were Grateful Dead fans prior to my arrival on the scene. For the early show, Mrs. P's brother and Randi took the "better" seats — down in the orchestra pit, just a few rows from the stage. We hiked up to the balcony and took our place just below the proverbial "nosebleed" seats. The interior lights dimmed and the two musicians shuffled out to the stage in the darkness. With no introduction, they launched into their first selection. As the show progressed, the temperature in the vast theater rose. Not due to a feverish performance (these guys were anything but feverish), but because of an air circulation system that was failing under the oppressive June heat we had escaped outside. The stale air and stifling humidity hung throughout the performance. When the final song — a decidedly non-rousing rendition of the Dead's "Dire Wolf" — concluded, our clothes were drenched in uncomfortable perspiration and we couldn't wait to get out of these close quarters. Outside, we found a McDonald's packed with Dead Heads and got ourselves some liquid refreshments. Here we waited it out until we were granted admission to the late show. The four of us discussed seating arrangements and confirmed an earlier decision to switch seats for the second performance of the night. Mrs. P's brother was not happy and attempted to renegotiate our agreement. He was unsuccessful and the future Mrs. P and I found our seats downstairs at center stage.

There was something obviously wrong with the air conditioning in the theater. The place was like a sauna. Folks milled around the seating area, using handbills for upcoming concerts as makeshift fans. Let me tell you, a building with no air conditioning in June packed with people is not pleasant. When you take into consideration the average Dead Head's reputation for not maintaining proper personal hygiene, well.... that doesn't help the situation. The lack of air conditioning was apparently affecting the start time of the second show. It was taking much longer than usual for the lights to go out, signaling the beginning of the late performance. In the meantime, a din of conversation filled the room. I noticed the guy with long, unkempt hair in our row sitting next to an unoccupied seat. Another guy — a near twin, hirsutly speaking — soon joined him in the empty seat. By their verbal exchange, it was apparent that Guy 1 was here for the first show and Guy 2 was not. 

Guy 2 was bursting with questions. He wanted a complete play-by-play, you-are-there rundown of the early show from Guy 1. However, from the way Guy 1 was unsteady in his stance and from the redness of his teary, heavy lidded eyes, he was not capable of delivering the required description of the night's first performance. In other words, Guy 1 was  — as Pittsburgh Pirates hurler Dock Ellis so eloquently phrased it after throwing a no-hitter while under the influence of LSD — "as high as a Georgia Pine." He was painfully tongue-tied and his scrambled thoughts came out in head-scratching incoherence. Guy 2 changed his approach. Instead of an account of the show itself, he pressed for a list of song's that Jerry played, at the very least. Guy 1 obligingly rattled off a dozen or so titles of Grateful Dead and Jerry Garcia solo songs. With each mention of a title, Guy 2's eyes widened and he responded with a disappointed "Oh man!" or a joyously upbeat "Oh man!" 

I was fascinated by this conversation, until Mrs. P tapped my shoulder and rolled her eyes. I looked away from the hippie pair and focused on my future spouse. She leaned into my ear and, in a low voice, she stated, "He didn't do any of those songs. I don't know what show this guy thought he saw."

Although I am still not a Dead Head, there's no denying their entertainment value — both on stage and off.

www.joshpincusiscrying.com

ice ice baby

I have been to two professional hockey games in my life. The first one was in 1975. My father, who was (at the time) a main office executive for a chain of east coast of supermarkets, was given tickets to a Sunday afternoon Flyers game. In 1975, the Philadelphia Flyers were pretty hot stuff. They were the defending Stanley Cup Champions and they were the sworn enemy of every other team in the NHL. Tagged with the notorious (though fitting) moniker "Broad Street Bullies," the Flyers were a living punchline for the popular joke "I went to a fight the other day and a hockey game broke out." Because the Flyers were so popular, I watched with feigned interest when my brother would tune the game in at home. I had a Flyers T-shirt, but everyone in Philadelphia in 1975 had a Flyers T-shirt, too. But, I was not a sports fan by any stretch of the imagination, so I can't imagine why my father chose to take me instead of my more sports-leaning older brother, but he did and we went. I remember it was really, really cold inside the Spectrum, the one-time state-of-the-art multi-purpose venue where the Flyers played their home games. I had been to the Spectrum a handful of times prior to the Flyers game. I saw Alice Cooper's "Welcome to my Nightmare" concert a year earlier. I saw the folky pop group America play their greatest hits there and I saw Elton John give a high-energy performance... but I don't remember it being so cold at any of those events. Granted, there wasn't 17,000 square feet of ice at any of them, so that could have played into it. Watching the game, I remember being unable to keep track of the puck as it was fired all over the ice. I also remember having absolutely no idea what exactly was going on. I was there to see a fight. Just like everyone who goes to an air show doesn't really want to see planes fly. If they did, they would just go to the airport and sit all day. You go to an air show to see a crash... and, in 1975, you went to a hockey game to see a fight. On this particular Sunday, the Flyers did not disappoint. Somewhere during the first period, Dave Schultz, the Flyers' infamous left wing (nicknamed "The Hammer" and for good reason) got into a melee with Detroit Red Wings' center Dennis Polonich. After a few minutes of a stoppage of play to allow Schultz to pummel the living shit out of Polonich, the ice was cleared, Schultz entered the penalty box (a very familiar spot for him) and maintenance crews came out to scrape an amount of Polonich's blood off the ice. I don't remember the score, but I remember that.

This past Sunday, I went to my second professional hockey game,  putting a 48-year gap between the two games I attended. A lot had changed since I witnessed my first hockey game. First of all, the venue was the Wells Fargo Center, a new state-of-the art venue that is the current home to the Philadelphia Flyers. The Spectrum was demolished in 2011. The Flyers have retired the uniform numbers of several of the former players, some of whom I saw play in '75. Despite not being a hockey fan, I knew the names of every member of the 1975 team, as well as the coaching staff. Honestly, I couldn't name a single player on the current roster. Or any roster for the past ten years. (Okay, maybe Claude Giroux, who may or may not still be playing. Don't answer, because I don't care.) Why, you may ask, would I go to a hockey game? Well, I suppose, it's because my wife is a Dead Head.

While surfing around the internet, as one does, Mrs. Pincus discovered that the Philadelphia Flyers were having "Grateful Dead Night" at their game on January 8. We had attended a Phillies game last summer when they honored an upcoming concert by Dead and Company, the current incarnation of former members of the venerable 60s jam band still hanging on to a dream. Between innings, Grateful Dead songs were played over the stadium PA system... until they weren't (somewhere around the fourth inning).  Costumed characters of the iconic "Dancing Bears" frolicked with the Phillie Phanatic as sort of an afterthought. Mrs. P thought it would be fun to see what the Flyers would do "Grateful Dead-wise," so she bought tickets. A pre-game concert by local Dead cover band Splintered Sunlight was announced, as well as special "Dead" themed T-shirts for a limited number of special ticket holders. We bought those "special tickets" and they weren't cheap! A few days before the game, we got an email explaining that due to a pre-game conflict with the Philadelphia Eagles (who play right next door at Lincoln Financial Field and are playing much better than the Flyers are), the pre-game concert with Splintered Sunlight would be rescheduled for a Sunday in March. However, because the Flyers are playing so poorly this year and having difficulty getting people to fill the 20-thousand-plus seats in the Wells Fargo Center, we would be given (read: for free!) tickets to that game in March... in addition to the tickets we already held! 

To be honest, we were just looking for an excuse to see the inside of the Wells Fargo Center. Neither my wife nor I had been inside to see an event, except for a post-season sale of sports team merchandise held on the floor of the facility. We really had no intention of staying for the entire game. We are not hockey fans and don't expect to be hockey fans in the future. Our main goal was to check out the place, get something to eat and, possibly get a glimpse of Gritty, the most reviled mascot in the NHL and the second most popular mascot in the city. I had scanned the food offerings available at the Wells Fargo Center. Most were decidedly "meat-heavy." I am a vegetarian and my wife follows a strictly Kosher diet, so we had to look very closely at what was to be had for two people with specific dietary requirements. Surprisingly, there was quite a selection. Several concessions offered Beyond Burgers, the hit trend in meatless hamburgers. One stand had falafel (although it was closed for this particular game). A stand selling tacos and such had a mushroom and kale version that looked tempting but, we settled on something called a "Za’atar Cauliflower Cheesesteak." New this season, the Za’atar Cauliflower Cheesesteak was touted as a vegetarian-friendly alternative to the Philadelphia staple. Instead of thin strips of steak, a mixture of cauliflower and spices was the main ingredient, complimented by caramelized onions and harissa (a peppery condiment from the Middle East) Cheez Whiz. Now, before you stick your tongue out in disgust, remember, not everyone is you. Not everyone likes what you like. I happen to love cauliflower and I have actually had a similar sandwich at a little hole-in-the-wall steak and hoagie shop in Atlantic City.

We wended our way through a knot of typical Philadelphia traffic, parked and walked excitedly towards the Wells Fargo Center. Once inside, we passed through the obligatory metal detectors (where Mrs. P found a quarter on the floor!) and started our trek around the brightly lit concourse. Our seats were on the top level of the arena, but we were in no rush to get to them. We were having a better time seeing the sights, the excited fans and taking in the whole electric atmosphere. Near a free-standing souvenir stand (where Flyers sweatshirts were selling upward of a hundred bucks, a small table was set up with an array of Flyers logo items. My wife approached and asked the young man about the items. He smiled and began explaining all about purchasing Flyers season tickets. My wife politely listened to his pitch, nodding on and off as he ran down the various options and price points. I stood by silently. "Are you interested in purchasing season tickets?," he asked. My wife convincingly replied, "Sure!" She was not interested in purchasing season tickets. She was, however, interested in obtaining some of the Flyers promotional items displayed on the tabletop. As Mrs. P filled out an electronic form on an iPad, the young man turned to me and asked where our seats were tonight. I just pointed skyward. "Top section," I said with a sheepish frown. He dug into the pocket of his sport jacket and said, "How'd you like to sit closer?" He handed me two tickets for seats just behind the goal, in, what we would soon discover, one of the coldest sections in the place. Now, upgraded, we were off to find that faux steak sandwich.

Actual.

We located First Line Steaks behind Section 110, just a section over from our new, upgraded seats. We approached the counter and ordered two Za’atar Cauliflower Cheesesteaks and two bottles of water. I was not convinced that the fellow behind the counter actually worked there. He stared at us expressionless as we ordered. We had to repeat our order several times before he fully grasped what we wanted, my wife confirming, "That's cauliflower, right? No meat." He did not acknowledge. He asked if we wanted onions, to which we both replied in the affirmative. He returned from the order pick-up counter with two cheesesteaks. Two of meatiest meat-filled cheesesteaks I have ever seen. It may have even still been "moo-ing." We looked suspiciously at the sandwiches. 

"These are cauliflower?," we asked in unison. 

He stared at us and said, "Cheesesteaks." 

"Yes," Mrs. P continued, "I understand. We wanted the cauliflower sandwiches."

I examined the sandwiches a bit closer and determined that they were filled with meat, with not a trace of cauliflower anywhere. "This is meat." I said, coming to an informed conclusion and pointing to the evidence.

"Huh?," shrugged the fellow behind the counter.

"Meat!," I repeated, slightly raising my voice. Mrs. Pincus, a bit calmer, added, "We wanted the cauliflower sandwich." She pointed to the illuminated menu above our heads, but I don't believe this guy could read. He went back to the pick-up window and had a few words with the man at the preparation area. He nodded towards us and may have even given us a confident wink. He scooped a big serving of what was definitely cauliflower into a long roll. With a shiny pair of tongs, he added long strips of browned onions and topped it all off with a ladle full of orange cheese sauce from a different dispenser than the other guys were using. The fellow behind the counter took the two original meat cheesesteaks and deposited them in a nearby trash can. 

"Oh!," sighed Mrs. Pincus, "That's a shame."

"Huh?," shrugged the fellow behind the counter.

Cauliflower.

My wife pointed in the direction of the now-discarded steak sandwiches. "What a shame you had to throw those away.," she clarified

"Oh," shrugged the fellow behind the counter. (This fellow shrugged a lot!) He pushed our two cauliflower sandwiches towards us and plopped two $5.25 bottles of water right behind them. We found our way to our seats and I passed out the fistful of napkins I grabbed, as I knew this would be a messy undertaking. I was right, but — boy! — was it good. Yes, my friends, it was actually very good. 

Soon the lights dimmed and starting players were announced. Gritty made his first appearance to a mixture of cheers and boos. The players skated around the ice. The Zambonis smoothed out the playing surface while two scantily-clad young ladies — wielding snow shovels — scooped up loose ice crystals, mostly for show. A horn blew and the game began.

And, within seconds, I lost interest. I didn't recognize a single name on either team's roster. The action moved way too fast for me to keep tack of who had control of the puck. I don't know anything about hockey, but I could tell — I just had a feeling — that the poor Flyers were definitely being out-played. Gritty came to visit our section, messing with some fans, relaxing in an empty seat (there were a lot to choose from) and posing for pictures. But, it wasn't enough to keep us there for the whole game. We left midway through the last inning..... I mean period. And not a single mention of the Grateful Dead was made by anyone in an official Flyers capacity.

We have one more game to go.

www.joshpincusiscrying.com

song sung blue

Let me preface this story by saying I really dislike "tribute bands." While I certainly am a fan of live music, I draw the line at bands that feel it's okay to ride the coattails of an established and beloved (by some) act by imitating every last move, note and lyrical inflection for a few bucks (actually way more than a few bucks). Even if the object of "flattery" is a band I like, I feel angered by and embarrassed for the performers, as well as the actual band. A few years ago, Mrs. Pincus and I were given tickets to a Queen tribute band — the "ultimate" Queen tribute, if I recall correctly. We broke our promise of staying until the end of the show. I loved — loved — Queen in my youth and still hold a soft spot for them (except for my recent contempt for Brian May). However, I couldn't stomach any more of their "America's Got Talent" caliber of prefab presentation. A former co-worker regularly cajoled me to see a Genesis tribute band that plays almost monthly at a nearby venue. He constantly sang their praises, to which I constantly rebutted. "Not only wouldn't I go to see them," I would explain, "but the fact that they performed Wind and Wuthering in its entirety, my least favorite Genesis album, was absolutely not helping the argument." He eventually let up when the company let me go.

Let me also preface this story by saying that I will rarely turn down free tickets to anything. Case in point: my wife and I have seen Donnie and Marie, Tony Orlando and suffered through numerous bad experiences at the now-notorious (by way of this blog)  Movie Tavern — all for free. But, free is free and, as a good friend likes to remind us: "If it's free, it's for me." Words and sentiment couldn't ring truer.

Let me offer one final preface to this story. I love..... no wait..... let me rephrase that. I marvel at people's public behavior. I think since the advent and prevalence of social media in people's everyday lives, most folks have forgotten simple rules of public decorum. They have forgotten that there are other people in the world and sometimes their pursuit of a good time can impede on other's pursuit of a good time. Also, I believe that nobody owns a mirror anymore.

That said....

Free.

Mrs. Pincus obtained two tickets to Jay White's performance at the Xcite Center showroom in Parx Casino, a gambling venue just outside of Philadelphia. Parx's showroom has surprisingly attracted some fairly big names. Not the current superstars that could easily fill a stadium, but headliners in, what I would call, the "twilight" of their careers. Acts like Air Supply, John Fogarty and Reba McEntire — all recognizable, but perhaps no longer at the height of their popularity, yet still popular enough to fill a 1500-seat venue. Well, fill it three-quarters of the way anyway. Between the actual name acts, are scattered several "tribute" acts, including the noted Australian Pink Floyd Show, allegedly blessed by the remaining members of Pink Floyd (Hmm, there's one thing they can still agree on.) and the aforementioned Jay White. (I also saw ads for something called "Ian Anderson presents Fifty Years of Jethro Tull." I'm not quite sure in which category that show falls.)

Jay White calls himself "America's Diamond" and performs songs made famous by popular (dare I say "legendary") singer-songwriter Neil Diamond. (Technically, this moniker makes zero sense as the real Mr. Diamond was born in Brooklyn, New York... and you don't get more American than that, baby!) Not only does Jay White sing with a very, very close approximation of Neil Diamond's imitable Sprechgesang style, but he looks uncannily like Neil Diamond to boot. I can just imagine White marching into the office of a record executive and belting out a few tunes, only to be halted with suspect scrutiny. "Mr. White.... you're okay, but we already have a guy who sounds and looks like you." "Fuck it," I imagined White's growling retort, "I'll do a goddamn tribute show then!" And that's exactly where Jay White's career has brought him, playing such illustrious towns as Gulfport, Mississippi, Kokomo, Indiana and a week-long residency in Delavan, Wisconsin.

I was a little apprehensive about going to this show, but, as I said earlier, I won't turn down free tickets to pretty much anything. And this show had all the promise of "pretty much anything." Mrs. P and I had nothing to do and the venue was air-conditioned, so... what the heck! Besides, Neil Diamond has announced his retirement from the stage, giving Jay White the opportunity to perhaps fill a void that I was not aware needed filling.

...and then there's this guy.
(That's Jay White on the right.... or left.
I'm not sure.)

We drove the twenty or so minutes to Parx Casino and located the venue at the rear of the bustling gaming floor. We were a bit surprised by the configuration of the showroom. It was flat, not sloped at all, and was reminiscent of my elementary school auditorium, except the stage seemed to be built unnaturally high. (A Trip Advisor reviewer seems to agree with me.) The pre-show music piped in over the PA was a standard mix of songs that would appeal to the decidedly older crowd. (classic light rock and a smattering of country). Just before the lights dimmed, however, Lee Greenwood's chest-pounding, flag-waving, heart-stirring "God Bless the USA," came blasting through the venue speakers, offering just the right blend of nauseating, rabble-rousing, redneck faux-patriotism and faux-religion to an all-white audience, all of whom apparently had checked their handguns and MAGA hats at the door. A woman a few rows in front of us stood at her seat and dramatically waved her arms at the audience as though she were the choirmaster at a school recital. The room erupted in thunderous applause at the song's conclusion — a recording from thirty-three years ago by an artist who was not in the fucking room!

The crowd loved it... especially the old guy
 with the two-foot braid.

In the darkened theater, I could see a number of musicians filing in and tuning up. Still in the shadows, they launched into the opening bars of "Soolaimon," a popular, but lesser-known song from the Neil Diamond canon. Jay White, clad in a sparkly shirt and high-waisted tuxedo pants, his helmet of hair fashioned into the signature Neil Diamond 'do, strutted and posed and pointed his finger for the next ninety minutes, as he bounced around from "Cracklin' Rosie" to "Cherry Baby"  to "Holly Holy"... all executed with the dead-on precision of the respective recordings. The band was comprised of obviously talented musicians and White is definitely in possession of a strong set of pipes. But, there was still something that didn't sit right with me. While I do love and appreciate cover versions of songs, someone making a career out of someone else's act is no different than an artist duplicating the Mona Lisa or a writer plagiarizing Hemingway. If you have talent and creativity, then use it and be creative. Don't sell yourself short and take the lazy route. I know I was in the overwhelming minority. The crowd that evening, much like the audience gathered at the "Ultimate Queen Tribute," was eating it up like candy-coated candy. They thought they were actually seeing Neil Diamond at a fraction of the cost of a Neil Diamond concert ticket. They stood. They swayed. They sang, They cheered. One woman was welcomed stage-side while the pretend Mr. Diamond offered a personal and seductive serenade with "Girl, You'll Be a Woman Soon." It was greeted with palpable adoration. I found it embarrassing.

The evening closed with a participatory "Sweet Caroline" punctuated by the recent obligatory "so good so good so good" chorus that has ruined that song for me. Thank you Red Sox fans. I hate you even more. The last song was an epic rendition of "Coming to America" from the soundtrack of the 1980 version of "The Jazz Singer." My wife noted that if the crowd realized that this song was about a Jewish cantor emigrating to the United States, they may not be singing along with such gusto.

The house lights went on and the audience filed out — some still dancing as out of rhythm as they were clapping.  Jay White was in the lobby, cheerfully posing for pictures with his adoring fans. We passed.

If I learned anything from this experience, I realized that I know a lot of Neil Diamond songs. More than I thought.

www.joshpincusiscrying.com

I want to see the bright lights tonight

In our house filled with things, my wife came across a cache of concert ticket stubs, some dating back to the middle 1970s. I had actually been looking for this collection of memories for some time. I honestly thought they were long gone, tossed to the trash when we made the move from our newlywed apartment in Northeast Philadelphia to the suburban house that has been our home for over thirty years. 

Wild nights are calling.

Curiously stored in a Barnum's Animal Crackers box, these torn paper testaments were in surprisingly good shape. Time had faded some of the early-computer printed particulars, but the ones that escaped total destruction at the hands of some minimum-wage earning ticket-taker were still legible. The band names were clear enough to read - some consisting of careless, though comical, misspellings. (The opening act for a 1977 Queen show at the Philadelphia Civic Center listed the supporting band as "Thin Lizzie," as though it was an emaciated ballerina.)

A lot of the ticket remnants were from 70s-era Grateful Dead shows, many of which were from shows staged at the Philadelphia Spectrum, the self-proclaimed "America's Showplace," which boasted some of the worst, sound-deadening acoustics this side of the $64,000 Question's isolation booth. Despite being the home base for both the Philadelphia Flyers and the 76ers, the Dead managed to find time to fit in 53 concerts at the venue, more than any other musical act. That allotment of tickets, of course, belonged to my wife — as my first experience with the psychedelic San Francisco troubadours was in April 1982, when I was taken (abducted? dragged?) to a spring concert by the future Mrs. P. I recognized my concert tickets by the decidedly un-Grateful Dead band names that were printed across the colorful Ticketmaster branding. Again, most were from the Spectrum, as it was the biggest and most popular venue in the city, but a smattering were from shows at the smaller Tower Theater, a converted movie palace just outside the western city limits.

My brother, older by four years, was a veteran concert-goer, having seen performances by Rod Stewart, Cat Stevens, The Moody Blues, George Harrison (reporting that the former Beatle was "awful" and the show was stolen by energetic keyboardist Billy Preston) and others of that ilk. He witnessed the now-legendary marathon at the remote Widener University gymnasium by an up-and-comer that he mistakenly identified as "Bruce Springstein.*" Some of my friends at middle school had toyed with the idea of actually seeing some of our favorite singers live when they came to our town. But I broke the proverbial ice when I scraped together a hard-earned six dollars and fifty cents for a single, general admission ticket to see Alice Cooper (and leather-clad guitar slinger Suzi Quatro) on the local stop of his "Welcome to My Nightmare" tour when it touched down in Philadelphia in April 1975, the twenty-second date on its five-month, multi-city trek across North America. That night, after seeing the wiry Mr. Cooper dance with giant spiders, cavort with tuxedoed skeletons and lop the head off a menacing cyclops, I was bitten by the concert bug. I left that show rabid — anxious to see another concert. And fast! It wasn't until a full year later that I was able to attend my second concert. Forking over a steep seven-fifty, I spent an evening at the back of the cavernous Spectrum, watching bland folk-rockers America deliver one boring song after another as they promoted their newest release — a greatest hits compilation culled from their five-album catalog on which every song sounded identical. I can't figure out what exactly I was doing there. I was not a fan of America — not even in the most casual sense. I didn't own any America albums. I suppose I just wanted to go to a concert.

I made better choices (in my opinion) as the years went on. I saw Elton John when he brought tennis star Billie Jean King onstage to join him in a chorus of the terribly shitty, yet hometown beloved, "Philadelphia Freedom." I saw the electrifying Queen several times, including once with pneumonia (me, not them). Freddie Mercury was a showman like no other. I even took my DeadHead future spouse to Queen's final American tour where she questioned the numerous costume changes and lighting effects. After all, the Grateful Dead had not changed their clothes since 1969 and their fans usually visualize their own lighting effects.

I saw Elvis Costello a few times as well, watching as he made the jump from new-wave pioneer to the elder statesman of his bygone "angry young man" genre. The late Warren Zevon, a short-term Philadelphia resident while he was between record deals, gave impromptu recitals at the wonderful, yet now-defunct, Chestnut Cabaret on the campus of the University of Pennsylvania. Mrs. Pincus and I were in the audience for several of those intimate shows and they were a memorable treat. Along the way, I got to see The Boomtown Rats, Tim Curry (yes, that Tim Curry), They Might Be Giants, Fleetwood Mac, Duran Duran, Squeeze, even Barry Manilow.

My son developed an early love for music, based on the constant albums and radio blaring from speakers all over our house. His interest blossomed into a career, as he is now a host/producer on a local Philadelphia radio station. Even before his current employ, we accompanied each other to a boat-load of concerts. We've seen good bands, bad bands, strange bands and just-about-to-hit-it big bands. We've had band members jump off the stage in front of us. (In one case, a singer fell off the stage on us.)  My son even introduced me to bands (A Giant Dog, Low Cut Connie, Kid Congo and The Pink Monkey Birds... yeah, you read that right) in the same way I gave him his first taste of the Beatles and his mom taught him about Jerry Garcia. Thanks to my son and the numerous concert venues that have opened in Philadelphia (named by one music website as the "best concert city" in North America), my concert calendar is usually packed. I never dreamed that, at 56, I'd still be going to shows, let alone bumping elbows in tiny venues with fans half my age. Conversely, it was funny when my wife and I sat in a sold-out Atlantic City showroom for a Tony Bennett show and, looking around, wondered how many other audience members had also seen The Clash.

It's okay, I'm with the band.

The concert experience has changed considerably since I was perched on the second level of the Spectrum, squinting to make out the color of Sir Elton's glasses. Bands were untouchable and unapproachable, sometimes just an out-of-focus dot bathed in a purple spotlight. Now, in the days of social media, a selfie with your favorite singer is no longer a rarity, it is a requirement. Granted, artists that fill stadiums are off-limits, save for those willing to pony up a few hundred (even thousand) dollars for a one-on-one experience. But, the bands that play 1200-seat (or smaller) venues will often appear at unannounced "meet-and-greets" at their "merch table" where the purchase of a t-shirt or album will net you the bonus of a sweaty hug and the opportunity of a cellphone picture to document the encounter.

This story, of course, is far from over. I love live music and it takes a lot to stop me from seeing it. As I write this, I have at least two concerts lined up in the coming months. And there will be more after that. I guarantee it.

*My brother informed me that he thought the singer's name was "Bruce Bringsteen." Actually, that's funnier.

www.joshpincusiscrying.com