WJW TV-8’s Late Movie – 1985’s “Rambo: First Blood Part II” (2003)

Time for a sequel post! And not just a post about a sequel, but a post that’s in and of itself a sequel to a previous post. And it’s all the more fitting because the sequel this post is about is the sequel to the prequel that the prequel post was about!

There, wrap your mind around that introduction!

Surely you will recall back in August when I talked about an airing of First Blood as shown by Big Chuck & Lil’ John on May 11, 2001. What? You don’t?! That hurts me deep, but here it is. For a character I had grown up basically knowing of, that was my first time actually watching a Rambo film. It wasn’t quite what I was expecting at first, but before the broadcast ended that Friday night, I had become a fan. The following morning, I was determined to pick up the remastered VHS trilogy set that was then-available.

Unfortunately, for whatever reason (almost certainly due to lack of money on my part – as usual), I didn’t get the set, and thus I didn’t see the sequels as soon as I would have preferred. Add in all the other responsibilities and interests of a teenager, and ultimately, I wouldn’t see First Blood‘s sequel, Rambo: First Blood Part II, until very nearly two years later, when I taped it off WJW TV-8’s late movie showing. I have no concrete date for the broadcast, but it was the spring of 2003 (late April or early May is the closest I can deduce), but naturally it’s that very recording we’re looking at today.

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In the late-1990s and early-2000s, I had made a semi-habit of staying up late on weekend nights and catching a new-to-me movie on some local channel. More often than not, this was an action film, and it was through this method that I was introduced to flicks I almost certainly wouldn’t have been aware of otherwise. Army of One and One Man’s Justice come to mind. (Which is why I was far too excited to find the latter on DVD for cheap at Value City a few years later!) My love of action films, especially 1980s action films, was fostered via these late night airings, and it was through them that I eventually found myself staying up late to watch First Blood, and ultimately, First Blood Part II.

In retrospect, the broadcast we’re looking at today was from the tail-end of not only this habit of mine, but also of even being able to catch movies on local channels late on weekend nights in general. I’m not saying it doesn’t happen anymore, because it does (our WBNX TV-55 regularly runs movies in the late hours of the weekend), but by and large late night television is a wasteland of syndicated programming and infomercials now. And besides, the way we as a television-viewing audience watch movies nowadays has changed so drastically in the 14 years since that, even if I personally don’t go for the streaming thing, the very thought of a late night movie on television just doesn’t hold the same charm of discovery as it once did. This both saddens me and makes me all the fonder for the recordings I had the foresight to make back then.

Truth be told, I can’t recall if I actually stayed up late to watch this broadcast as it taped, or if I merely watched it soon thereafter, but the sentiment is ultimately the same. And boy does this one take me back. Even that bumper up above, complete with the immortal Bill Ward‘s voiceover, is a cause for nostalgia. Now granted, I wouldn’t be surprised if those same background graphics were used for Fox affiliates all across the country, and I don’t know when they were first utilized or when they were dropped, but they were present for at least a few years afterwards (I have a recording of Miracle Mile from 2006 that uses them), but I love ’em. They’re simple, sure; just that bluish color-scheme, spinning film reel, station I.D., and voiceover, but they work. By 2003, I’m not sure you could ask for all that much more, anyway. The same image was used as the intro to this broadcast, as well as for the commercial-break bumpers. Update your diaries accordingly.

(You’ll note that my title notates this as WJW’s “late movie,” but the bumper mentions nothing of the sort. Yes, this was well past the “8 All Night” days and associated pomp and circumstance. This was a late airing, however; I don’t recall an exact time, 1 AM, 2 AM, something like that.)

I know there won’t be as much vested interest in this post as there was in my First Blood article; Big Chuck & Lil’ John naturally attract local readership. Even beyond that, I know some will look at this and probably think “A 2003 airing of Rambo II? Who cares?” The thing to remember there is that this is a personal blog, and what it comes down to is that it’s all about what makes me, well, me. I mean, yes, the ultimate goal here is to educate readers on an obscure late night television broadcast that would almost-certainly be forgotten otherwise, but as always, a subject has to trip my trigger first. So, maybe this will strike a chord with certain readers, and maybe it won’t, but I’d rather share my memories and have this review out there than, uh, not.

Besides, just because Big Chuck & Lil’ John aren’t hosting this, that doesn’t mean they won’t show up in some form during it. What do I mean by that? Read on!

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Actually, had I been paying more attention, there probably was a Chuck & John showing of this film around the same period; as you’d expect, WJW would get these film packages, and show the same movie in different slots over a relatively short period of time. For example, I taped Iron Eagle II off The Big Chuck & Lil’ John Show (a recording I still have!), a Friday night broadcast, and not long after, maybe even that following Sunday, the movie by itself ran again, in an afternoon slot. (I remember holding a yard sale and having it on to show that a TV I was desperately trying to shill did indeed work, which wasn’t all that successful in the bright sun, but whatever.) The aforementioned Miracle Mile was also aired this way, and it was how I first discovered the movie. Unfortunately, I didn’t tape it, and it didn’t run again until ’06, when I did tape it, in a non-Chuck & John showing. Meh, que sera sera and all that.

So anyway, 1985’s Rambo: First Blood Part II. If you go back and read my First Blood post, you’ll note that this sequel is more along the lines of the movie I expected to see the first time around. Indeed, when people picture Rambo and his exploits, the plot of this film is probably what first comes to mind. And why wouldn’t it? The movie was a massive hit, it’s still fantastic, and it’s easily one of the defining action films of the 1980s. I mean, this movie is 1985. This is the film that truly drove the Rambo, one-man-against-an-army image into the public consciousness, as evidenced by the wave of merchandise it spawned (including a fantastic Sega Master System game and an odd, Zelda II-esque Nintendo Entertainment System game).

Of course I loved the film right from the start. If you’d ask me to put together a top 10 list of my favorite action films, First Blood Part II would easily, easily make the cut. But then, so would First Blood and Rambo III, too. (and Schwarzenegger’s Commando, while we’re at it.) Maybe a year or so after I taped this, we finally upgraded to DVD, and near as I can recall, Rambo: First Blood Part II was the first film I bought for myself in the format (unless you count the restored Metropolis, which Kino sent me on DVD despite my ordering it on VHS, which I don’t). For me, that’s pretty telling. I love this movie.

That’s the title screen up above, by the way. When you see a fire-filled “Rambo,” pop on-screen, you know you’re in for a ride. That Fox 8 logo in the bottom right corner totally takes me back, too.

(And yes, there is a Big Chuck & Lil’ John airing of this very movie floating around trade circles, though I don’t concern myself with such 2nd gen or more shenanigans, and thus it is presently barred from me. Meh, que sera sera and all that.)

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Caution! Some spoilers for a nearly-32-year-old movie are ahead! 32 years?! Yep, First Blood Part II was released on May 22, 1985 – pretty darn close to a straight 18 years the night this aired. I find it interesting that the film was less than 20 years old when I first saw it, but is now over 30. I’m not sure why I find that interesting, but I do. I think it has to do with the quick passage of time and me being quite a bit older now. Well, now I’m depressed!

Part II isn’t really a direct sequel, but does pick up in the aftermath of the events that transpired by the end of First Blood. In that one, remember how John Rambo (Sylvester Stallone, of course!) had pretty much destroyed an entire town, totally outwitted the local police force, and whose life was saved only when his former-commanding officer Col. Trautman (Richard Crenna!) told him to cut it out? (I’m trying not to divulge too much of First Blood, for the 2.6 of you that haven’t seen it yet.) Well, Part II picks up some time after all that; Rambo is serving his sentence, performing back-breaking hard labor, when Trautman shows up at the prison with an offer (above): It’s rumored that some POWs are still left in Vietnam, and a special team is being assembled to go in and get them – if they are indeed still there. Rambo is the best candidate, and with the opportunity to get out of a prison for the time being, as well as a full presidential pardon dangled in front of him, not to mention him being a former-POW himself, of course he accepts.

I like this; less than 5 minutes in, the title hasn’t even appeared on-screen yet, and the movie is already off and running. In short order, Rambo finds himself in the presence of one Marshall Murdock (Charles Napier, who fills the roll of you-just-know-he’s-a-jerk-from-the-start that Brian Dennehy so-ably occupied in the previous film). Rambo’s mission? To head back into Vietnam, and take pictures of a Vietcong camp. Seriously, just take pictures? Rambo expresses his concern over this, but he is again ordered to only take pictures – he is not to engage the enemy. If evidence is found of POWs, a full-fledged rescue team will head in and get ’em. Rambo goes along with this.

Welp, Rambo parachutes in, and yes, there are indeed POWs still there. Despite Murdock’s orders, Rambo has to rescue one, and thus, engage the enemy. This causes Murdock to show his true colors when Rambo meets the extraction site. He and the POW are then (re)captured, and must (re)escape the Vietcong, who it turns out are being supplied by the Russian military (1985, the Cold War and all).

“Murdock, I’m coming to get you!” If you’re not fully rooting for the ‘Bo by the time he utters that line, well then I just don’t know.

(Also, now is as good a time as any to point out that, as you may surmise from the diagonal rainbow “stripes” overlayed in my screencaps, we were using an antenna of the rabbit ears variety at the time, with the resulting reception naturally captured on my tape – a malady that was only exacerbated by my choice of an SLP recording speed. This all looks far uglier as still screen captures than it does in motion, but nevertheless, my tape ain’t Criterion quality.)

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Rambo: First Blood Part II is pretty much a non-stop stream of testosterone. Above left: Blowin’ stuff up with ‘splosive arrows. Above right: Shooting anything and everything in sight (and looking uncannily close to that Rambo action figure they released in the 1980s – or vice versa, rather). Audience manipulation? Well of course it is! It’s pretty much impossible to not cheer Rambo on as he dismantles the enemy camp while long-imprisoned POWs celebrate – that may be the very definition of audience manipulation!

But don’t think this is just a mindless celebration of violence, though; many of the same themes present in First Blood are on display here, but almost from an opposite viewpoint and with an added wrinkle of redemption and hope – the undertones aren’t quite as dark and somber as they were in First Blood. Okay, sure, this is all seen through the “popcorn action movie” lens, I know, and that tends to tone the message of the film down considerably. Well, except when the flick is beating you over the head with it, as in Rambo’s final speech – which I love nevertheless.

Maybe that’s why Rambo: First Blood Part II was a huge hit commercially, but the critics didn’t particularly like it. To that, I say “man, forget that noise.” First Blood may have been more successful at presenting the plight of the Vietnam vet while also remaining an engrossing action film, whereas Part II is, for lack of a better description, more of a “straight-ahead” film, but with some “rah rah” overtones. Except, that’s not quite fair to the movie; it’s deceptively smarter than that (sort of like Springsteen’s “Born in the U.S.A.”). Yes, Rambo loves his country and is prepared to die for it, but that doesn’t mean there aren’t criticisms of a confusing war – it’s just that the film pulls them off without throwing the soldiers that fought in it under the bus. There’s courage and heroism on display here, both from Rambo and the rescued POWs. As someone who has the utmost respect for any of our veterans, this all strikes a chord with me.

Or maybe the critics just didn’t like the film based on the usual suspects of plot, writing, whatever. I haven’t really gone and checked any of the old reviews online in-depth, because my opinion of a film is the only one I care about. So for all I know, I may be totally full of it right now.

And on that note (ha!), you know what? To me, this is just such a good, solid action movie. No kidding, right here we basically have the archetype for the one-man-army action film. Yes, Missing in Action did the same basic plot in 1984, but it didn’t do it nearly as well, nor as popularly. For all intents and purposes, this type of action movie, which has come to define a good chunk of 1980s mainstream cinema, begins right here. (Furthermore, while I like Chuck Norris’ James Braddock, Rambo is a far more compelling character; the psychological scars he carries with him truly give an added resonance to the proceedings – even though Braddock was also a former POW. But, I digress.)

So, getting back to this broadcast as a whole, was there anything that, in retrospect, makes this 2003 airing significantly unique? Kinda. There’s the usual suspects of the editing for television (sometimes egregiously so; very obvious fade-outs and fade-ins, for example), and this aired at a time when TV broadcasts, particularly local broadcasts, could still look markedly inferior to official home video releases. Even with my SLP recording speed and rabbit ears making things difficult, this is still clearly an older, un-remastered television print of the film; not really bad, but sorta drab looking, and almost certainly a step below any official VHS edition of the film. Or maybe it was just my reception, I don’t know.

Look, if you haven’t seen this film (yeah, sure, uh huh), just go buy your own copy. If nothing else, it’ll certainly look nicer.

You know, the fact that this is from 2003, and thus still fairly ‘new’ in my eyes (nearly 14 years new, ha!), and not being that unique in terms of film-content, aside from TV-editing, it all had me questioning whether I wanted to get a post out of this. As I said near the start of this piece, there would probably be inherently less interest in this, especially without a unique factor such as Big Chuck & Lil’ John hosting it. But then I remembered this is about my nostalgia; what gets my memories fired up.

And on that front, there are the original commercials. It’s funny, there’s stuff during this broadcast that, for the most part, I probably haven’t thought of since the early-2000s, and yet when they came up on-screen, it was like they just aired yesterday to me. Here now are some of my favorite ads found during this late night broadcast of Rambo: First Blood Part II

Affordable Jewelry Coins & Loans Ad

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This is fantastic. Pawn shop/jewelry/etc. ads were all over this broadcast, as you’d expect of late night TV. This was my favorite of the bunch though, simply because it exemplifies local advertising in the wee hours of the day; you can’t not love it!

Here, a Sinatra-ish lounge singer performs “My Kind of Store” in regards to Affordable, complete with back-up singers, all while the screen flashes over their various wares and a voiceover gives their buy-sell-pawn pitch. The spot finishes with a little kid (in the bottom-left in the right screenshot above) exclaiming “It’s so affordable!” This is the kind of advertising that exemplifies local TV.

Affordable Jewelry Coins & Loans is still in business, too! Looks like the ad did its job!

WJW Dharma & Greg Promo

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Remember Dharma & Greg? I’m not sure any channel plays it anymore, and It was never a show I cared much for, but it was one of the hallmarks of ABC’s late-1990s & early-2000s sitcom powerhouse line-up, a line-up that included Spin City, The Norm Show, and of course The Drew Carey Show. So, even though Dharma & Greg never did a lot for me, it still ranks a bit on the nostalgia meter. The premise of the show was the Dharma was a free-spirit, Greg was uptight, and they both married on their first date. At least, that’s how I recall it. It ran for, I think, a respectable six seasons, so apparently more people cared for it than I did. I could Wikipedia the show, but I refuse.

Anyway, WJW became the repository for local reruns when the series entered syndication, and as you can see above, it garnered the weeknights at 7 PM slot. Bill Ward’s voiceover: “Hot comedy with Dharma & Greg! Weeknights at 7 on Fox 8!” For years, that 7 PM to 8 PM block was a cornucopia of comedy on WJW, naturally spearheaded by The Drew Carey Show, and for a time 3rd Rock From the Sun was also a big part of it. Good memories!

Norton Furniture Ad

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Ah ha! A Norton Furniture ad! Now we’re talkin’ some legit Northeast Ohio advertising! Heck, these commercials even went beyond our area, and into the national spotlight! Read on…

There were others ads for the store, even during this broadcast, but the best known were the ones featuring owner Marc Brown, who you’re seeing above. My favorites were those featuring The Ghoul, for obvious reasons, but there was a long, long line of offbeat, sometimes even surreal, commercials. Marc spoke in a quiet, almost halting manner, proclaiming if you can’t get credit there, you can’t get it anywhere. And then the ads would turn strange. The Ghoul ones, for instance, would have The Ghoul popping up and chasing Marc, trying to cut off his pony tail. In another, Marc would turn to a mannequin and ask it a question, apropos of nothing whatsoever. Look, Norton Furniture actually has a bunch of these up on Youtube, so just go see for yourself.

Anyway, this all attracted the attention of national comics, and eventually these ads were being featured on late night shows as joke fodder. I even seem to recall The Soup (which I avidly watched for a time) taking a crack at it. The Norton Furniture ads became well known enough that Taco Bell used one as a basis for one of their commercials – during the Super Bowl. Wikipedia (yes, there’s a Norton Furniture page) says this was only a regional Super Bowl commercial, but nevertheless, I flipped out when I first saw it!

So, the installment found here, this one is actually one of the milder entries, though still kinda out there in a hazy, late night kinda way. In it, Marc gives a lecture to an unseen group of people about the features and benefits of Norton Furniture. Unfortunately, no surreal occurrence in this one, besides some canned applause by the “audience” at the end. Interestingly, this is a minute-long spot; usually they were the standard 30 seconds.

While not one of the wackier Norton Furniture ads, its presence here is still most definitely welcome. And, Norton Furniture is still around! Check out their website!

TeleMaxx Communications Ad

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I’m including this one mainly because it shows just how wildly the cellphone world has changed in the nearly 14 years since this aired.

TeleMaxx was, as you may surmise, a spot for all your wireless needs. As you can see to the left above, the ad features cutting-edge cellphone technology – of the early-2000s. It’s wild how far these things have come in such a relatively short amount of time. Nowadays, we have phones that’ll make you a sandwich if you ask them nice enough, but the ones seen here? They were somewhat bulky things that did little more than make phone calls (go figure!) and maybe, maybe play rudimentary games of bowling and/or solitaire.

And above, to the right! Pagers! Pagers!! Do they even make pagers anymore? The rise of the cellphone pretty much made them obsolete, which means it’s really a trip back in time seeing them spotlighted in this ad. A steal at only $29!

Unfortunately, it looks like TeleMaxx closed up shop some time ago; such is the price of working with transitory products such as these, I suppose.

Big Chuck & Lil’ John For Pizza Pan Ad

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I saved the best for last, and boy is this one phenomenal! Not only because it’s an ad featuring Big Chuck & Lil’ John as spokesmen, though of course that’s the, as I like to say, “cool winnins factor.” But also because, man, it just takes me right back to 2003.

The gimmick of Pizza Pan was this: Order a pizza and have it delivered, you got another pizza free. Order a pizza and pick it up yourself, you got two extra pizzas free! Obviously deals like that are gonna attract some attention, and in short order, Pizza Pan had made a pretty big local name for itself. It seemed there were locations all over, and we patronized the one near us pretty often, because hey, three pizzas for the price of one! This was all bolstered by some pretty heavy advertising, including Big Chuck & Lil’ John, who pitched the chain for a number of years.

Indeed, we’ve already seen Big Chuck & Lil’ John do their Pizza Pan shtick on a larger scale; remember the Big Chuck & Lil’ John Pre-Game Show post? Check it out, because Pizza Pan was all over that one.

Unfortunately, by the mid-2000s or so, Pizza Pan seemed to just sort of fade away. My memories are vague, but I seem to recall them ending the whole free pizza offer, which of course was what their name was built on. I believe it was later brought back in some form, though it might have only been a single free pizza no matter whether it was delivered or picked up. I can’t say for sure, because by that time, the one near us had closed. Anyone wanna give the details in the comments?

But back in 2003, that was when Pizza Pan was still reigning supreme. (Get it? Supreme? Because it’s pizza! Aw never mind.) Here, this commercial summarizes the whole deal succinctly. In it, Chuck explains to John the buy one pizza, get one or two pizzas free gimmick, before telling the staff to pick up the pace because they’re so busy (which is a cue to comically speed up the video as pizzas being assembled are shown). It’s a simple ad, sure, but it got the point across, it had Chuck & John’s endorsement, and it spotlights one of the most memorable aspects of Northeast Ohio pizza-eatin’ in the early 2000s. AND it has a Bill Ward voiceover at the end!

It seems there are still a few Pizza Pans left; here’s the official website, though no matter what link you click, the only page you get is a list of store locations. (A Cleveland store gets a different, full-fledged website; I’m guessing that’s the original, or at least most popular, location?)


And so, some two years after I became a full-fledged Rambo fan, this recording was how I continued the fandom. A little late on all fronts, I know, but hey, it’s always better late than never!

As I said before, when I finally jumped into DVDs a year or so later, this movie was the first I went out and purchased. Indeed, the other two Rambo entries were also among my first purchases on the format, as well. Obviously, I held (and hold!) the series in a severely high regard.

When it comes to what I taped before all that though, this particular recording actually became a bit lost in the shuffle. My earlier First Blood recording had Big Chuck & Lil’ John hosting it, but this one had no such extras (besides that cool Pizza Pan commercial). As such, I watched it, I loved it, but I never did much with it again. Not until 2011 or so, anyway. That’s when I began really getting into the nostalgia of all the stuff I had taped years prior, even the comparatively newer stuff such as our subject today.

But, I was always glad I taped this, because it’s Rambo, and I loved the film. Even though my official DVD ‘replaced’ my TV recording relatively soon thereafter, I was, and am, still pleased that I kept this recording. This was what introduced me to First Blood Part II, man! And what’s more, it turned out to be a very solid example of Cleveland late nights in the early-2000s, when I loved discovering new-to-me movies. As such, I will happily deem this one a “winner.”

Kid Pics – The Amazing Adventures of Alice in Wonderland VHS (1987)

Welcome to 2017! 2017? Yes, 2017! The four-year anniversary of this stupid blog is right around the corner! Four years! I can’t believe it!

What say we start 2017 off with something, well, something a little out there, eh? Found just a week or two before Christmas, today’s subject cost a whopping 60 cents at a thrift shop, and for sheer “say what?” value, it was worth every penny.

Behold! The Amazing Adventures of Alice in Wonderland, on VHS! (It’s below and to your right, obviously; eagle eyes will notice I’m experimenting a bit, but just a bit, with formats this time around. This is a little out-of-the-norm for this blog, and while I can’t promise it’ll continue in the future, right now I feel like a big-time legit newspaper guy or something.)

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When I sauntered into this particular thrift shop, it quickly became evident that someone had dropped off their entire inventory of budget cartoon tapes. Now, I’ve got quite a few of these in my collection already, though I’m by no means on a regular hunt for more specimens. I’m interested in releases of the Fleischer Superman cartoons, and Popeye, but beyond those two, I come across cheapo cartoon releases far, far too often to go all nanners over ’em every single time. Thus, most of the tapes out for sale that night were passed over by yours truly.

And, Alice in Wonderland is even less likely to trip my trigger, because, uh, it’s Alice in Wonderland. We never owned a copy, but growing up I was vaguely familiar with the Disney film, and I of course know the basics of the famous Lewis Carroll story. But I mean, this sort of thing just isn’t really my scene, man.

And in the case of this particular VHS, even the cover art is too competent to raise my eyebrows. Lemme explain: part of the fun with cheap cartoon videos from the 1980s is the oftentimes wildly-amateurish cover art. There are quite a few renditions of Popeye and Superman out there that are too pitiful to not love. Heck, overtly terrible artwork can and sometimes is reason enough for me to drop some coin. But here, the artwork is entirely serviceable. Just look at it up there! It’s competently drawn and colored, and it projects a nice, Easter-ish vibe. No one will ever mistake it for a release of Disney’s version of the story, but for what it is, the artist did a good job.

So, just why did this tape end up coming home with me that fateful night? The answer is found on the back cover…

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No, it wasn’t the featured line-up listing. Sure, you’ve got the “marquee” feature, along with what (I guess) I initially presumed was just another old, subsequently-public-domain-lapsed iteration of Carroll’s heroine, plus a couple of other seemingly-appropriate “wonder-ish” cartoons. It all “fits,” but none of those were why I grabbed this VHS, either.

Nope, the real reason I avidly purchased this tape has to do with the logo you’re seeing to the left: it was a Kid Pics release! What makes Kid Pics so special, you ask? Why, Kid Pics was part of the Amvest Video empire, that’s what! Though the back cover makes no mention of it, Kid Pics was indeed a division or subsidiary or connected-in-some-way-somehow to Amvest, and that’s what made this a must-buy for me. You don’t (or at least I don’t) come across these things in-person very often, and at only 60 cents, hey, I pretty much had to have at it!

Amvest has had no small presence on this blog, especially in regards to this their Al Lewis-hosted Grampa Present video series, which culminated in the ultimate recap this past Halloween. Indeed, I’ve become more and more enamored with the company, to the point where anything I come across by them whilst out and about is more than likely entering my collection. While still decidedly a budget outfit, many of their tapes had a quirky charm to them, and there are more than a few interesting stories regarding the company out there in internet-land, for those inclined to look. While I don’t go after every single Amvest release with the same fervor that I do their Grampa series, I’d be lying if I said I didn’t give the nod to Amvest whenever possible.

So anyway, there I was, an ostensibly-adult, 30-year-old male, carrying a cheap Alice in Wonderland VHS tape around a thrift store, and far more excited about it than any ostensibly-adult, 30-year-old male should have been. Was I a cause for concern to fellow patrons of the establishment? Maybe, maybe not. If I was though, what they didn’t realize was that I had found a rare, or at least wildly-obscure item, and more-importantly, fodder for my silly blog. Though truth be told, it wasn’t until after I checked out the tape and ruminated on it for a bit that I myself realized I could get a post out of this, either.

(Found at the same time as this was a Kid Pics tape featuring public domain Looney Tunes shorts, and months ago I had picked a Superman cartoon comp by them as well. For all I know, I unknowingly have more releases buried in my collection. Any any rate, my big hope with these three tapes was that The Happy Hamster, a bizarre host for some, but not all, Kids Pics releases would show up. Alas, it was not to be. Perhaps it was for the best though, since the sensory overload of The Happy Hamster hosting this tape would have, in all likelihood, caused my face to explode.)

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And that brings us to Alice in Wonderland proper.

Before I actually played the thing, I figured this was just another release of an old cartoon that had been floating around the public domain for centuries decades, an Ub Iwerks or something. That’s not what I got, though. Nope, what I found instead, while not really “disturbing,” was still more than a bit odd, and just a little trippy: a 9-minute, black & white short that combined live-action and stop-motion animation to form a fast, condensed version of the famous story.

Upon my initial perusal, I pretty much just zipped through the tape to see what exactly I had. After discovering that this Alice in Wonderland was what it was, I went looking for it online; I wanted to see what year it was released, who was in it, and so on and so forth. My first thought was that it was an early television production, and when my Google searches and whatnot didn’t turn up the answers I was looking for, I quickly found my interest in the whole matter deepening ever more so, as it is wont to do.

Had I been paying closer attention the first time around, I’d have found my answer easily enough: The title-card’s mention of “Lou Bunin” tells all. Turns out, this is an extremely edited version of the 1949 French film of the same name! The original is 80+ minutes long, and in color, so given the nature of the print found on this tape, not to mention the Castle Films cards that were also included at the open and closing of the feature, it seems to me that this was a VHS re-release of something that was produced for the home market in the decades prior; originally a Sound Super 8 reel or something like that. I’ll go ahead and assume this condensed version has lapsed into the public domain in the US, though apparently the 1949 original has not. Either way, interesting stuff!

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At only about 9 minutes, needless to say there wasn’t much time for exposition. So here, things kind of just “happen.” Now granted, Alice in Wonderland didn’t exactly feature the most lucid story in the first place; that was sort of the point of the whole thing, right? But even so, the quick cuts and fairly choppy nature of the proceedings here, it’s a pretty disconcerting. That may sound fitting for an adaption of Alice in Wonderland, but this turned out to be more of an honest-to-goodness sensory assault than it had any right to be.

The plot, such as it is, starts out with Alice following the famous White Rabbit to Wonderland; that’s seriously how this edit of the film starts. No questioning as to why a rabbit is wearing a coat and walking upright – “Seems legit,” as the hip kids say. Following the rabbit to his lair and drinking a potion to make herself small enough to follow him through the tiny entrance to Wonderland? Sure, why not! Alice in Wonderland was kind of an acid trip of a tale in the first place, and as for the 1949 adaption, since I haven’t seen the full version, I don’t know if there was any initial reluctance on Alice’s part or not, but she seems to go with the flow without hesitation here. Anthropomorphic rabbits? Drinking random potions that have appeared out of nowhere? None of that is cause for concern to Alice, I guess!

What follows is Alice being accused to stealing the Queen’s tarts, and being put on trial. The possibility of having her head chopped off, as the Queen readily insists time and time again? Alice seems only mildly apprehensive of the wacky-jack situation and possibly bad resolution – maybe she’s cognizant of the fact she’s trippin’ perhaps? This is weird stuff, and like I said, things just sort of randomly happen; I’d imagine that kids would have needed some prior knowledge of the story to make any sense (relatively speaking) of this particular iteration. And just like it began, it sort of just concludes; just as the trial is about to rule against her keeping her noggin, Alice suddenly finds herself safely back in “real time,” unsure if it was all a dream but with a, as the narrator states, “wonderful story to tell” nevertheless. I’d hardly say nearly being decapitated over tarts is a “wonderful story,” but I suppose it’s pointless to question any of this.

The special effects and stop-motion are technically pretty impressive for the time; they’re well-done and accurately present the dreamlike world of Wonderland. The scene of Alice shrinking near the start is pretty neat for 1949, and the animation of the Wonderland inhabits is acceptable, though the jerky nature of them, coupled with the black & white picture and already-weird nature of the source material, plus the chopped up quality of this print, it all ends up being a little creepy, honestly.

Look, I find this short impossible to satisfactorily describe. The Internet Archive has a copy (though interestingly, it lacks the title card and first several seconds that are present on this tape), and it’s notated as public domain, so here you go.

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When I first found this tape and gave the contents listed on the back a fleeting-at-best glance, I saw what was on it, but I didn’t really comprehend what the included cartoons were, if that makes any sense. Not beyond the cover art at least, I mean. Look, this was a Kids Pics release; it was coming home with me no matter what. I guess what I’m saying is I didn’t pay all that much attention to the tape I was far too excited to find. If that sounds like an oxymoron of sorts, rest assured it happens a bit more often than I’d care to admit. Buy first, think later!

(In all seriousness, whenever I’m out thrifting, I generally do pay some attention to whatever I’ll be bringing up to the sales counter. Be it an electronic, tape, or what have you, I like to have as few negative surprises as possible when I get home. But in this case, and in instances like it, the content of the tape is basically secondary to the rarity of it. Is the tape moldy? Does it look like it will play? That’s all I really needed to know before the purchase. And in the end, it was only 60 cents.)

Anyway, when the sale was done and I got home with my loot, it wasn’t until I actually saw it that I realized there was a thematic-element going on here. This wasn’t just a short, budget-priced collection of public domain cartoons; Amvest/Kids Pics/whoever put together four shorts that kinda sorta go together (for the most part; read on, you’ll see), despite not being related in any real capacity.

So, Alice’s Tin Pony. On the surface, it sounds like another vintage trip to Wonderland, not unlike how there were multiple theatrical shorts detailing the land of Oz back in the day. One would and could be forgiven for making that Wonderland connection upon first glance, given the title (especially if they weren’t familiar with the various renditions of Alice in Wonderland, as I was/am). Maybe that’s the main reason it was included in the first place, I don’t know.

But, that’s not what this is. Rather, it’s a part of an old, old series of silent Disney shorts from the 1920s that have all lapsed into the public domain. Look up above if you don’t believe me. Alice, Disney. See?!

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Besides the whole “her name is Alice too!” thing, this cartoon makes a fitting pairing with the bizarre Alice in Wonderland edit that precedes it for one very good reason: it’s a combination of live and action and animation.

The gimmick for these “Alice Comedies” was that the titular character was a real human kid, superimposed (?) over the cartoon world in which she lives and takes part in. Truth be told, it’s an effect that works far better than I ever would have expected it to prior. This short is from 1925, and while this isn’t news that will surprise anyone familiar with the series, I found it technologically impressive.

Alice’s partner in these shorts was an animated cat named Julius. There they are up above, and if you think Julius bears more than a passing resemblance to Felix the Cat, that’s because he, uh, doesbig time. Not only does Julius appear to be a dead-ringer for Felix, but he acts pretty much the same, too. Dude can even detach his tail and do things with it. In fact, this short is pretty surreal overall, not unlike a typical Felix the Cat cartoon – which of course makes it an even better pairing with Alice in Wonderland.

In this Alice installment, she and Julius run a railroad line, and that day, it’s carrying a payroll shipment of some sort. Felix’s Julius’ surrealistic powers and a sentient train help stop a bandit and his gang from stealing said payroll.

Listen, this thing is impossibly weird, it’s public domain, and it’s only a bit over seven minutes long, so just watch it for yourself here.

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Now is as good a time as any to mention that this tape would not stay tracked. My screenshots don’t look so bad, but man, while in action I had to keep screwing around with the tracking controls. By the end, even the patience of your Northeast Ohio Video Hunter was being tried, and believe me, I’m no stranger to wonky trackin.’ This was a pretty cheap tape, recorded in EP, and that coupled with one of my lower-end VCRs, well, the results are never gonna be Criterion-quality when I go that route.

The second-half of the tape opens with this, 1936’s Somewhere in Dreamland. Wonderland, Dreamland, the (loose) theme continues! According to Wikipedia, the first few minutes of this cartoon are sometimes cut, though the complete (?) version is found here. Note the black bar obscuring the original copyright info above; was that even necessary? Near as I can tell, this one has been in the public domain for decades. Then again, the bar doesn’t appear then-recently implemented, and there’s a NTA title for the ending card, so maybe it was first used when this one hit television? That’s my best guess, anyway.

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Somewhere in Dreamland is very much a depression-era cartoon. In it, two poor kids haul a wagon around collecting firewood for their home. They can’t afford sweets or any of the other things kids ostensibly desire. A sad moment early on has their mother feeding them stale bread, and crying when one of them says they’re still hungry. Given the then-current situation in pre-WWII US, it’s pretty powerful imagery, especially for a kids cartoon. One can’t help but feel that the early scenes of the short really hit home for more than a few viewers at the time.

No, chief, none of that’s the Dreamland of the title; it’s not an ironically-named cartoon! Rather, Dreamland is where the two kids visit when they go to sleep that night. (I guess they dream in tandem?) Dreamland is filled with all the things they don’t have access to in real life: Nice clothes, sweets, toys, general pleasantness. And it’s all accompanied by a dreamy (“you don’t say?!”) song playing throughout, which is probably exactly how you’re envisioning it to be, if you have any familiarity with cartoons from this era.

There’s a suitably happy resolution to the cartoon that, despite being obligatory, I can’t help but feel was a little disheartening to the real children of the depression that were originally watching this. But then, I’m probably reading too much into this.

Being a Max Fleischer work, there’s also some incredible 3D-rotating backgrounds on display, too. Being a Popeye veteran, I’m well-accustomed to these, but nevertheless, I’m always wowed by them. Go ahead and watch this cartoon for yourself here.

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The tape finishes with Toonerville Picnic, the only cartoon that doesn’t really fit in with the loose dreamy, surrealistic theme of the tape. I mean, there’s wacky, unrealistic situations here, but really no more so than any other cartoon of the time – or now, for that matter. Indeed, Brentwood Video (who had some kind of partnership with Amvest, late in the life of the latter) released a VHS in the 1990s that was pretty much the exact thing content-wise as what we’re looking at today – except Toonerville Picnic, which was dropped from the line-up. At least that’s how I understand it, not personally owning that Brentwood release myself.

From 1936 and based on a long-running comic strip, this was one of Van Beuren Studios’ all-color Rainbow Parade series entries. Actually, it was not only the final Rainbow Parade entry, but from how I understand it, also the final cartoon Van Beuren put out, period. Maybe their final thing ever, for all I know.

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This is my least-favorite short of the tape. Don’t get me wrong, I’m not really ga ga over any of these, but as I said, I like the weird, out-there vibes coming from the cassette. Toonerville Picnic kinda stops all that dead. What, Amvest/Kids Pics couldn’t find one more trippy public domain cartoon to finish off their blockbuster VHS release? Bah! Maybe I’d like it more if I had some actual experience with the comic strip it’s based on, but I don’t so I don’t.

Not that it’s really a bad cartoon, mind you. Just not my favorite. In it, Mr. Bang, who has a temper to match his last name (i.e., he’s in a constant bad mood) is ordered to get some rest, so he heads to the beach. What he gets is an annoying dog, an uncooperative chair, and a homicidal octopus. You’ll have that, after all.

Look, I’m tired of talking about this tape. Just watch this one for yourself here. (Link has a different opening card from what my copy features, but whatever.)


My conclusions?

This is a neat tape. It’s a little out there, but it’s neat. On the surface, it looks like just another run-of-the-mill budget cartoon tape. Playing it though, that’s where things get interesting. Instead of being yet another presentation of the “usual suspects” of PD animation, this is instead an interesting collection, featuring four fairly obscure shorts. In fact, all four were new to me.

‘Course, Alice in Wonderland is the centerpiece, and boy, is it a trip. The extreme editing it suffered gives the short a real, I don’t know, stream-of-consciousness feeling, I guess you could say. Whether the complete 1949 original is like that, I do not know. But as to what’s seen here, it’s truly a wild, wacky trip back to budget VHS past, and it totally sets the tone for the rest of the video. Sure, the shorts get progressively less strange as they go along, but all in all, this isn’t a bad 30 minutes or so for lovers of “huh?!” cinema. I didn’t realize how fortuitous the tape would be when I discovered it at that thrift store several weeks back, but boy, good find.

And it was only 60 cents!

WJW TV-8’s The Big Chuck & Lil’ John Show – “Terror of Mechagodzilla” (December 12, 1997)

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“How’d y’all find somethin’ from just a week later, North Video Guy?”

Remember last Monday, when I spotlighted my own personal recording from December 5, 1997, 19 years to the day? Evidently, your Northeast Ohio Video Hunter was a busy little taper in the waning weeks of 1997, because just a seven days later, I recorded yet another powerhouse of a broadcast – and directly after that Son of Ghoul episode from last week, to boot! By and large, I taped things I was interested in (“gee, no kidding!”), but even so, very rarely did I capture a phenomenal double-header such as this.

From December 12, 1997, 19 years ago today (!), it’s The Big Chuck & Lil’ John Show, and its presentation of Terror of Mechagodzilla. Rest assured, if the post last week got my nostalgia rolling, this one here blasts it sky high.

Coming at a time when my Godzilla fandom was at (or very near) its height, and as part of general Christmas-month festivities, you have no idea what fond memories that bumper above fills me with. Man, I was 11-years-old, Christmas (and Christmas break!) was right around the corner, and I was discovering a new-to-me Godzilla flick; an early Christmas gift if there ever was one! Throw Big Chuck & Lil’ John in that mix, and, well, does it get much better than that? I posit that it does not.

Also, depending on how busy/lazy I get, there may or may not be an actual Christmas post here at the blog. So for the time being, consider this it, okay?

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This broadcast was also a life-preserver of sorts.

In a story I have recounted before, my parents dropped cable near the end of summer ’97. The cable box was too expensive, and having even less money than I do now, I didn’t have much say in the matter. So, for the foreseeable future, basic television channels were going to be it. As a young film-buff, this was not an ideal situation, with the most grievous aspect being that Mystery Science Theater 3000 was now barred from me. I was (and am) a big-time MSTie, so this hurt deep.

Actually, the loss of the Sci-Fi Channel as a whole was a serious blow to yours truly. Their Godzilla marathons were things of beauty, serving to introduce me to many entries I was unaware of prior, especially the 1970s stuff, some of which was out of print or otherwise not readily available on home video in the late-1990s. Coincidentally, one of the last things I taped before we dropped the cable box was Sci-Fi’s airing of Godzilla Vs. The Cosmic Monster, the prequel to the very film we’re looking at now!

There were some positives to being cable-less at the time, however. First and foremost, I now had to pay more attention to the local channels available to me. That’s how I came to be a Son of Ghoul fan. And, looking back, it was in this time period that the seeds of a legit love for Northeast Ohio broadcasting were first planted; that love would blossom in full within the next few years, and continues at full-strength to this very day.

Also, there was another silver lining: In the late-1990s, Godzilla films could still show up on ‘regular’ TV channels. It seems that steadily decreased as the 2000s dawned, and in retrospect I was witnessing the tail-end of it here, but at the time, all I knew was that I had the opportunity to catch a ‘Zilla flick unbeknownst to me prior.

And so here we are, Terror of Mechagodzilla. I needed some fresh ‘Zilla in my life, and this came at just the right time. I can still recall the excitement upon first seeing this listing in TV Guide that week; I’m not sure I was even aware of this film beforehand! That’s the title screen up above, by the way. The Terror of Mecahagodzilla title as seen here always looked newly-generated to me, and thus, I think the print aired by Big Chuck & Lil’ John that night was the same one as released on home video in the late-1980s. This movie went through a number of edits in the US, and frankly, I’m not sure exactly which one I’m looking at here. I guess it’s the chopped up US theatrical edit. This is the one I grew up with, at any rate.

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Made in 1975 (but not released in the US until 1978), Terror of Mechagodzilla is a direct sequel to Godzilla Vs. The Cosmic Monster, aka Godzilla Vs. The Bionic Monster, aka Godzilla Vs. Mechagodzilla. In that one, alien ape guys had created a robotic double of Godzilla, as part of the expected “take over earth” plot. Godzilla (and new buddy King Caesar) naturally intervened. Earth was saved, ‘Zilla’s good name was cleared, and so on and so forth.

Now, in Terror of Mechagodzilla, the aliens are back; not only do they have continued plans to take over the world (of course), but they also want to revive Mechagodzilla. And, with the help of a human scientist that hates all mankind (bet it’s fun looking in the mirror each morning!) and his now-cyborg daughter (she was dead then she wasn’t; thanks aliens!), they summon heretofore-unknown undersea monster Titanosaurus to team up with their Mechagodzilla to help eliminate Godzilla once and for all.

Above: Godzilla suffering a beat down at the hands (claws?) of his robotic clone and Titanosaurus. You can probably guess the eventual outcome, but Terror features (in my opinion) some significantly more exciting monster battles than many (most?) of the immediate (read: 1970s) Godzilla films preceding it. Also, even though he has a bit of human help with Titanosaurus, it’s nice to see Godzilla on his own, not having to team up with another giant monster (or in Jet Jaguar’s case, robot) to get the job done.

Terror of Mechagodzilla is unique in several respects. First off, it’s the last entry in the original “Showa” series (1954-1975, or 1956-1978 if you go by US release dates); Godzilla would take a break until the mid-1980s. That means this is the last of my “preferred” Godzilla flicks – the 1980s on up entries have never done much for me, and trust me, I’ve tried. (Is that anathema to admit? Oh well, it’s the truth.)

Furthermore, I can’t think of a single entry in the original Showa series that’s a direct sequel such as this one (unless I’m just totally blanking on a similar, earlier occurrence; correct me if I’m wrong, big time G-fans). There were prior Godzilla movies that sort of followed along from previous events (for example, Godzilla is buried in ice at the end of Godzilla Raids Again, he breaks out of ice at the start of King Kong Vs. Godzilla), but to actually pick up on the story line from the film right before, same antagonists, back with a revised plan, it’s kinda neat.

It’s also far less silly than most of the other 1970s installments. There’s a very somber, dark feel to the film, not unlike a lot of mid/late-1970s cinema in general, really. It’s kind of jarring to see Godzilla in that light, honestly. Granted, 1971’s Godzilla Vs. The Smog Monster was a pretty dark film as well, and even occasionally surreal (Smog Monster is also one of my top personal favorites), but the presence of a “Kenny” (i.e., little kid) dissipated some of that bleakness. Here, with much of the focus on a woman (the cybernetic Katsura), it lends a very different tone to the proceedings.

There’s little doubt that returning-original-director Ishiro Honda had much to do with the radical shift in that tone. There may be giant monsters leveling a city, but the plot is generally pretty serious; in some ways, this feels like an earlier Godzilla film, but with a definitively 1970s-look to it. Truth be told, it’s pretty refreshing when compared to most of the other G films of the decade. Make no mistake, Honda makes a huge difference; just compare any one of his Godzilla films to one that’s, uh, not, and you’ll see.

When I first watched this airing 19 years ago, truthfully, the movie didn’t do much for me. It’s a somewhat slow moving, character-driven piece; Godzilla really isn’t in it all that much, and while I wasn’t an 11-year-old that needed instant gratification in his ‘Zilla movies by any means, the fairly-talky nature of the film coupled with the late hour (11:30 PM start time) and 2 1/2 hour length of this broadcast, it all took a toll on my patience. Quite honestly, I was bored by it – though it was still Godzilla, so there was zero chance of my recording over it later.

But you know what? Upon this latest viewing, I found myself getting into the movie – far more than I expected to. Don’t get me wrong, this still isn’t Godzilla’s finest hour, and how many times could they go back to the “invading aliens” well? I can think of two 1970s entries that don’t use that plot device: Smog Monster and Megalon. (And even then, Hedorah was initially an extraterrestrial organism.) Godzilla clearly needed a break, but even so, the generally serious tone and character-driven story (which I can definitely appreciate now) allowed the original series to end on a higher note than I previously gave it credit for.

Here, buy your own copy and judge for yourself!

(Funny-to-me movie moment: The discovery of Titanosaurus near the beginning of the film has a group of scientists in utter disbelief over the new “dinosaur,” as if that sort of thing should be even remotely surprising after decades of monster attacks and city-levelings. Seriously, by that point, it should rank pretty low on the “disbelief meter.”)

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And that brings us to Big Chuck & Lil’ John – and even better, Big Chuck & Lil’ John during the Christmas season! In 1997, I wasn’t yet the true BC & LJ fan I’d be in just a few years, and so my tuning in to their show was, at the time, based almost entirely on the movie featured. As such, I didn’t spend as many Christmases with them as I now wish I had. Still, being able to relive seeing a new-to-me Godzilla movie for the first time on their show is pretty great all on its own.

19 years ago, I can’t believe it! It was a banner Christmas that year. As I said last post, my brother and I got a Nintendo 64; kids today probably can’t imagine how positively mind blowing Super Mario 64 was back then. To go from 16-bit to that, it was a monumental leap. Also, I’m pretty sure that was the Christmas that brought yours truly a couple new Godzilla VHS’ under the tree. Cool winnins!

Anyway, Chuck and John. This wasn’t exactly Christmas Eve, it was only December 12th, so while there’s a general smattering of holiday cheer throughout the show, it’s not an overtly Christmassy affair. As seen above, there’s the expected wreaths and the Lionel train set on the floor (more on that in a bit), and a couple of fun Christmas skits, but it’s all mixed in with the ‘normal’ Big Chuck & Lil’ John shenanigans you know and love. The result was an exponentially strong show, from both movie and a BC & LJ-material standpoints. No joke, this one is a blast.

[For those just tuning in to this blog, and there are apparently a few of you, Big Chuck & Lil’ John were, respectively, Chuck Shodowski and John Rinaldi, who hosted movies and performed comedic skits on Northeast Ohio’s TV-8 from 1979 to 2007, though the format stretches back to 1966 with Bob “Hoolihan” Wells and The Hoolihan & Big Chuck Show. And even further back to 1963 if you count the Ghoulardi years, which Chuck had a hand in, too. Anyway, the show ended in 2007, but they came back with a 30-minute, skits-only show in 2011, which is still running. Cool winnins!]

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Because it’s a Godzilla movie, the “Cuyahoga Kaiju” club makes up a part of the studio audience – pretty cool! According to Chuck, they even brought the Godzilla-related items sitting on the desk that night! (Yes, I know one of those is a Gamera; we’re all friends here, right?) The Cuyahoga Kaiju are apparently still around – or at least, they have a Facebook group. I joined the FB group, though as previously stated (well, inferred), my knowledge of post-Terror of Mechagodzilla-related Kaiju matters is woefully lacking, plus I ain’t exactly an ever-flowing font of Kaiju knowledge anyway. Thus, any kind of membership on my part is probably best left behind a keyboard, where I can think about what I’m going to say before I make an absolute fool of myself. Granted, that would probably still happen either way, but the severity would be lesser. Maybe.

Wait, where was I going with all this? Oh, the studio audience, right.

At this point, it was time for the first trivia question of the night. As I have recounted before, I almost always knew these, but since I was at home, shouting at the TV screen would yield me no sweet, sweet prizes for giving the correct answer. You had to be in the studio audience for that, man.

The prize for trivia #1 was a gift certificate for the Lakewood YMCA Christmas tree lot, which was pretty handy since it was only December 12th; still plenty of time to get a tree home and set up in the house, had you not done so already. Stop calling me a procrastinator. Anyway, the question was: What were the names of Santa’s eight original reindeer? A lady in the back row (I don’t know if she was part of the Cuyahoga Kaiju or not) gets it. This is an instance where I kinda sorta remember the names of the reindeer, but probably would have screwed up live and in-person nevertheless.

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A very funny Christmas-themed skit follows.

John has brought his wife an early Christmas gift home, and it has to be opened right then. She’s hesitant, and begins guessing what could it be. It’s something she’s always wanted, and no, don’t shake it! When it begins leaking all over her new dress, she’s horrified, and asks if it was perfume. Nope, it’s a…puppy!

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Look, I love Big Chuck & Lil’ John’s skits, but there’s no doubt some of them were built on a pretty thin premise. And speaking of thin…

In this one, three guys in what I can only guess is the washroom of a gym pass by a mirror and take the opportunity to flex their muscles. The third guy is on the skinny side of things, and when he’s not satisfied with the result of his flexing, he artificially builds up his muscle mass – with shaving cream.

And…that’s kinda it.

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Look at this sign of the times!

In what turned out to be his final album (he died in October of ’98), polka king Frankie Yankovic’s then-recent Songs of the Polka King Vol. 2 CD was pitched. Not only does it make a good stocking stuffer, but get this: Chuck & John actually sing on it! No kidding, they’re on Yankovic’s cover of My Melody of Love! (Surely you recall the Bobby Vinton hit version?) Pretty snazzy! This CD is now out of print, but not too hard to come by used.

Fun Fact: Drew Carey and Weird Al Yankovic (no relation to Frank) were on Songs of the Polka King Vol. 1!

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After that reminder, a short video of Chuck & John’s trip to BW-3 the previous Monday for a wing-eating contest and Monday Night Football is shown. There was of course a winner, trivia, and a good time had by all. And according to them, it would all be done again the next Monday.

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Another Christmas skit follows that.

Here, Chuck is working a tree lot, which promises a half-off sale. Suddenly, he gets a call from irate customer John; he didn’t expect the tree to be literally half off!

Didn’t John notice when he was loading the tree up to take home? Or am I just thinking too much about this?

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The next skit isn’t specifically Christmas-themed, but appropriate enough due to the gift-giving nature of the holiday. I like this one a lot.

John is a sidewalk salesman for “lucky charms” (no, not the cereal; actual lucky charms), and when he entices passerby Chuck to purchase one, it’s revealed that it was actually the last in stock. As John prepares to go home to get some more, a safe falls on him!

Get it???

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Perhaps the quintessential, or at least most “quintessentially idealized” (does that make any sense?) Christmas gift is a train set. In this jaded day and age, I’m not sure how popular they actually are, but when you think “Christmas toy,” there’s a good chance you’ll think of one of these.

As such, it makes sense to pitch one on show, and that night, Big Chuck & Lil’ John did just that. They were raffling off a genuine Lionel train set, with a winner to be pulled on their December 26th show.

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Immediately after that announcement came this one: If someone was still in need of a last-minute gift, they could pick up the then-new book Ghoulardi: Inside Cleveland TV’s Wildest Ride, by Tom Feran and R.D. Heldenfels. It’s interesting to look back at a time when this book was still basically “hot off the press.” In short order, it became a certified local institution. When it comes to Cleveland TV history, this is one of the books to have.

I believe I got my own copy the next Christmas, and to this day I love it. Such a fascinating, detailed look at what essentially started (sorry Mad Daddy Pete Myers) the Northeast Ohio horror hosting legacy.

The book has remained in-print since it was published. Get your copy here. If you have an interest in Ghoulardi, TV history, horror hosts, and/or Cleveland, it is a must have! Utterly vital and completely entertaining, I can’t recommend it highly enough.

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A Saturday Night Mysteries installment, a favorite recurring skit of mine.

The gist of these was that a detective (or detectives) were called in to see if someone selling something or otherwise asking for money was on the up-and-up. It would quickly be deduced that he or she was not, and the reason why would be revealed later in the show. The challenge was for the viewer to determine, from the clues given in the first part, how the detective knew it was a fraudulent scheme.

In this one, an English archaeologist claims to have uncovered ancient cave paintings, and wants a wealthy widow to finance an expedition to unearth more artifacts. Detectives Schodowski and Rinaldi (of the “Parma Detective Agency”) are called to determine if the guy is legit. After hearing his story, Detective Rinaldi quickly declares the archaeologist a phony.

How did he know? “The answer? Later in the program!”

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A funny bit in which, despite a prominent “NO HUNTING” sign, Lil’ John happily struts through a park, gun in hand and dead birds (aka, rubber chickens) slung over his shoulder. When he’s stopped by the game warden, he claims he was just out taking target practice. When the warden points out the birds over his shoulder, John freaks out, throwing them to the ground and screaming about how “gross” they are!

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Trivia time again.

For this round, winner got four passes to the then-new An American Werewolf in Paris flick. The question? Besides St. Nick, what is another name for Santa Claus? An answer of “Kris Kringle” gets it. Too easy.

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Because it’s a Japanese movie that night, the next skit is considered particularly fitting. I’m fine with that, because this is one of my top favorites. I had totally forgotten it was included in this episode too, which made its inclusion double-exciting for me.

To start the show (evidently this was an episode intro back whenever it originally aired), Chuck interviews Judo & Karate expert John. Problem is, John is very into it, and constantly goes off on Chuck, pummeling him. When he first comes out and shakes Chuck’s hand, he automatically flips him over his shoulder and then chops and kicks him!

John has written a book, “How To Karot Good,” a title I absolutely love, and attempts to demonstrate techniques from it, which only results in further pain for Chuck. Trying to roundhouse kick some wooden boards? Chuck winds up kicked in his, uh, nether region. (John’s concerned “You alright man?” while Chuck writhes on the ground is a riot.) After that, karate-chopping a wooden board? The rigged board breaks and Chuck winds up getting it in the face!

Yes, it’s a skit that relies heavily on physical humor, but John’s chopping and kicking Chuck while screaming stereotypical karate “sounds” is hilarious. And the final gag, in which John demonstrates how he’d deal with being surrounded by attackers, is terrific: In slow-motion (because it’d be too fast for the cameras otherwise), he mimes running away!

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A goof on the old Ella Fitzgerald Memorex ads, in which both Ella’s actual voice and her voice as recorded on a cassette tape shattered a glass.

Here, opera singer “Ella Carmela” sings for “Rememorex” audio tape. Her voice shatters a glass, and her recorded voice shatters…Chuck!

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The conclusion to Saturday Night Mysteries. How did Detective Rinaldi know it was all a scam? Cavemen and dinosaurs, as one of the cave paintings posited, did not exist at the same time! What did the culprit (the wonderfully named “Benny the Gooch”) use as research? The Raquel Welch movie One Million Years B.C.!

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“Kung Fu-Ski,” a take-off on the old Kung-Fu TV series. I’m not all that familiar with the series, so forgive my not really knowing which characters are being parodied here.

A traveler, played by Chuck and who I guess was supposed to be the main character from the show, travels through the desert, begging for water. He comes upon a stand, which only sells neckties; no water. The traveler continues on, and eventually comes upon a restaurant. When he goes inside and desperately asks for water, he’s turned away…for not wearing a necktie!

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A play on the old “workplace suggestion box” idea.

Here, Chuck sheepishly puts a suggestion in the box, only to have boss John pop out of it after he’s gone, get on the phone, and ask his secretary to remind him to fire that “Schodowski jerk” first thing in the morning!

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A terrific skit; this “Kielbasy Kid” entry is up there with the karate sketch as my favorite of the night. This was also my introduction to the Kielbasy Kid, and thus holds some added nostalgia for me.

Here, the Kid and his Indian sidekick “Kishka” have had their home ransacked by a mysterious thief three times now. So, to combat the robber, they set up a pot of water rigged over one door, and a string of cans attached to the other. Whichever door the thief comes in, they’ll be alerted.

One night, it works; someone has come through the can-rigged door, and the Kid and Kishka tackle him. Turns out…it’s Santa! St. Nick angrily takes the 100 pound sack of kielbasy he brought as a gift and leaves. When the Kid tries to stop him, the pot of water falls on his head, and Kishka loudly cries at the loss of all that kielbasy.

This skit is run frequently enough on Chuck & John’s current 30-minute show, but strangely, there’s a small moment edited out that was intact for this airing: After setting the traps, the Kid and Kishka are going to bed. When the Kid sees Kishka’s stuffed animal laying in it already, he throws it out, saying there isn’t enough room for three in the bed. This causes Kishka to loudly cry. I’m unsure why this short scene is (usually?) cut from current broadcasts; maybe it’s a time-issue? I don’t know, but it’s very, very funny.

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Because I was all about the movie when I recorded this back in December ’97, I didn’t tape the intro or outro to this episode, instead beginning at the very start of the movie, and stopping right after it ended. This is something that causes me to cringe now, both as a completest and as a Big Chuck & Lil’ John fan, but back then, I didn’t know any better. It was all about the ‘Zilla, man!

As such, this was the last skit of the night as far as my tape goes, airing right before the concluding segment of Terror of Mechagodzilla. This is “Fallacy island,” obviously a parody of Fantasy Island. Here, a hapless man who can’t get any attention from women comes to the island, asking to make himself irresistible to them. The result? He’s turned into a puppy!


And that was the show itself, or at least as much as I captured of it. A very strong installment from all standpoints, far more so than I gave it credit for upon my initial viewing 19 years ago today.

The last remaining facet? A few of the more notable commercials to have aired during it. You want Christmas? You’re about to get it! Not a ton though; just a few of my favorites. Honestly, there were some great, nostalgic (for me) ads here, but I’m only gonna spotlight three of them right now. Why’s that? Because these, these signify late night and/or local Christmas advertising in a nutshell.

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Commercial #1: A spot for one of the perennial Christmas gift suggestions, The Clapper. Or rather, the revised “Smart Clapper.” Everyone knows about The Clapper and the gimmick behind it; clap on, clap off, baby! You can turn anything that plugs into an electrical outlet on or off just by clapping! Just plug The Clapper in, then plug your device of choice into The Clapper, and then have at it!

So, what was different about the Smart Clapper? You could plug two devices into it, that’s what! Clap twice for one appliance, clap three times for the other. The commercial makes ample demonstration of this, too. Turn on the lights, turn on the TV, and heck, if someone tries to break in while you’re away, there’s a feature where The Smart Clapper will turn on your lights (if they’re plugged into it, that is) at the slightest sound! Neato!

The Clapper is still sold today, and every year around this time you’ll begin seeing the commercials for them with that oh-so-familiar jingle. And you know what? These things do work, and they’re pretty cool lookin,’ too. Plus, they’re handy, especially if someone has mobility problems or the like.

Bottom line: I have a Clapper. And you should too.

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Commercial #2: A spot for one of the other perennial Christmas gift suggestions, Chia Pets. Everyone knows about Chia Pets; they’re even more ubiquitous than The Clapper. Available year-round but particularly visible during this time of the year, you’d almost have to be trying to not know what a Chia Pet is.

Just in case you don’t though: Chia Pets are pieces of pottery, typically shaped like an animal or human head or what have you, with which you smear the included plant seed concoction all over them. Then, with enough watering and sunlight and whatnot, plants will actually grow on the pottery, giving an animal fur, a head hair, and so on and so forth. You gotta pay some attention to ’em, but these do work and they look pretty neat, too.

For this commercial, the number of different Chia Pets and Chia Heads are spotlighted. The Chia Heads in particular are given prominent screentime, including a Chia Professor and Chia Clown. BUT, what really makes this spot is the brief but very cool set-up: an archaeologist has discovered ancient pottery, that just happens to be Chias, and by the end of the ad, he’s wound up with a treasure chest full of ’em. It’s a surprisingly involved production, with the archaeological scenes interspersed with the ‘normal’ Chia shots. Quite honestly, it’s the coolest Chia Pet commercial I’ve ever seen.

Bottom line: There’s an old Chia Head floating around my basement somewhere, but now I want a new one. And you should too.

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And finally, commercial #3: This one is less of an obvious choice than the previous two, mainly because it’s for Sun Super Savings Centers, a chain of electronics and appliance stores that I’m not sure exist anymore. Nowhere near me, at any rate.

The premise for the ad is simple: Sun has the big time Christmas season savings, especially on a mega-cheap Microwave (above right; $67?! Bargain buck bill!). Included are the perquisite shots of a family opening their gifts around the Christmas tree on, ostensibly all from Sun, and ostensibly all on Christmas morning. It’s a pretty typical Christmas-themed electronic and appliance store ad, really.

So why include it here? Two reasons. 1) Look at the kid on the left above; he’s just opened a Nintendo 64 controller! As I mentioned earlier, my brother and I got our Nintendo 64 that very Christmas of 1997, so that alone is enough to make me spotlight this Sun ad here; a kindred spirit! And 2) I bought my first brand new video game console with my own money from Sun; a Sega Genesis, in the mid-1990s. That alone is enough to make me spotlight this Sun ad here. So, fond memories and all that.

Bottom line: I loved the Nintendo 64 and really loved the Sega Genesis. And you should too.


And with that, our big giant look at Big Chuck & Lil’ John’s presentation of Terror of Mechagodzilla draws to a close.

You know, it wasn’t until I pulled out the tape that held Son of Ghoul’s The Hoodlum for last week’s post that I realized, boy, Big Chuck & Lil’ John hosting Terror of Mechagodzilla during the Christmas season would make a fine, fine follow-up article. Like I said during my intro, these were taped back-to-back, and between the two, I don’t think I could find a better, more powerful trip back to the Christmas season of 1997 in my video collection. Some scattered individual recordings, perhaps, but what we’ve seen over these past two weeks is not only an indelible slice of Northeast Ohio television in the late-1990s, but also a peak at my 11-year-old mindset, which, TV-wise, isn’t all that different from my modern day mindset, truth be told.

For this update as well as the last, I was originally recording because I wanted to capture and relive this weekend entertainment over and over. What I wasn’t aware of then was that I was also capturing a significant part of my life – as reflected by my television viewing habits, anyway. Over the years, as my knowledge of Northeast Ohio television history increased and I became more appreciative of what I grew up watching, it was stuff like this that I became more and more grateful for both taping and keeping. For example, Son of Ghoul last week, that was a winner from the start. But the broadcast we’ve looked at today, as I said earlier, it was initially all about the movie featured. It wasn’t until I really started to “get” Big Chuck & Lil’ John that I realized Man I’m glad I held onto that!” Needless to say, that holds doubly-true today.

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One final note…

I’m a busy cat, and since there’s a good chance this will be my last post of 2016, here’s a Christmas-appropriate image from earlier in the show we just finished looking at. Chuck’s holding a wreath, dig? Christmas. Also, I want that Gamera toy on the table somethin’ hardcore.

Actually, the more I think about it, the more I think I will leave this as my official Christmas post; it’s not like I can really top Christmas-themed Big Chuck & Lil’ John and ‘Zilla, anyway. Who could? So, with that said, I want to wish everyone a Merry Christmas and a happy New Year. Be safe, be well, and be kind to one another.

See you in 2017!

WAOH TV-29 & WAX TV-35 – The Son Of Ghoul Show: 1951’s “The Hoodlum” (December 5, 1997)

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I cannot believe this aired 19 years ago today. I refuse to believe this aired 19 years ago today! Where has the time gone?! (I discovered this information kinda late, which will account for the relative breeziness of this article.)

Recorded by yours truly in the early weeks of his Son of Ghoul fandom, this particular episode has become a personal favorite of mine. Maybe not so much because of anything it does itself (though it’s certainly a fun outing), but more because of where it all falls in my life, when the weekend promised a constant sense of discovery. I mean, not only did I get to indulge in this show that I had only discovered a bit over a month prior, but I also got to see totally new-to-me movies such as this, which, as a young film buff, was just like candy. Add in the Christmas season and the general mood of the time in which it aired, and it’s not too hard to realize I’ve got mad nostalgia for this one. (Further fueled by the fact that my brother and I got a Nintendo 64 for Christmas that year – cool winnins!)

From December 5, 1997, off of WAOH TV-29 / WAX TV-35, here is the low-budget 1951 film noir opus, The Hoodlum, as presented on The Son of Ghoul Show. (This also would have aired December 6, as the same episode ran on both Friday and Saturday evenings at that point, though I’m reasonably sure what I recorded here was the Friday airing.)

Now, there actually is a more-personal slant to this episode, one that ties in with something I brought up in my big huge 30th anniversary tribute article this past summer. We’ll get to that in due time, however.

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I’ve been a Son of Ghoul fan since November 1, 1997, and yet, in all that time, the introductory segment for this episode may be my all-time favorite; it’s just so perfect.

Apparently they had run The Hoodlum before, and subsequently gotten complaints that their projector wasn’t centered correctly. Not so; the film was just severely cropped. To that end, during the introduction SOG drags out a piece of cardboard and draws a diagram to explain what the deal is.

According to him, the movie was originally 35mm, and much of the picture was cropped when 16mm television prints were made, which was what they had for the show. To demonstrate the differences between the two, he draws a drive-in movie (a poorly-attended one; “There’s one car there!”), gives a rough approximation of what’s now missing in the picture (the film doesn’t pan-and-scan; what’s in the center is it), and then proclaims the movie “The Oodlub,” which is pretty much the on-screen title here. He then finishes with a declaration of not caring whether viewers understand what he’s talking about or not, because he doesn’t really have to watch the movie. “They pay me to be here; what’s your excuse?”

It’s such a fitting intro, very funny but also kinda informative. To my 11-year-old self watching this back in ’97, I got a kick out of it. Still do, obviously.

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He sure wasn’t kidding, either!

“A film noir on Son of Ghoul? Say what?”

Yep! While most of the offerings on The Son of Ghoul Show are in the expected horror and science fiction genres, he does occasionally branch out. Sometimes the show will feature comedies, mysteries, or, as in this case, crime thrillers. The Hoodlum was really my first glance at his stepping outside of the usual fare. Honestly, it wasn’t quite my cup of tea back then (though, needless to say, I was still smart enough to keep this recording), though in the years since, I’ve grown to really love film noir. Nowadays, this is right up my alley!

“The Oooodlubb—“

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Elaine’s Dad Lawrence Tierney plays Vincent Lubeck, a convict and legit “bad egg.” Despite apprehensions on the part of the prison staff, an impassioned plea by Lubeck’s mother gets him paroled – and he almost immediately starts back up with the shady business.

Lubeck is an all-around scumbag; he causes his brother’s girlfriend to kill herself (after his brother has given him a job at his own gas station, mind you), but the main plot-point of the film is an armored car hold-up and Lubeck’s gathering of a crew for said hold-up. It doesn’t quite go down peacefully. Like I said, dude’s a bad egg.

Despite the extreme cropping, wasted print quality, and Son of Ghoul’s multiple declarations that the film is “trash,” I actually kinda liked it upon this latest viewing. It’s short and pretty cheap, but Tierney is terrific and the plot held my attention fairly well. The Hoodlum ain’t exactly the de facto film noir, but if you’re a fan of the genre, it’s not all that bad.

I could go on, but look, the movie is in the public domain and only like an hour, so just go watch it for yourself, okay? And, you’ll note the Internet Archive features a print with readable opening credits! Go figure!

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Funny Son of Ghoul drop-in: Near the beginning, as Lubeck is being the warned the dangers of not staying on the straight-and narrow, a quick shot of ol’ sparky had SOG superimposed sitting in it, laughing like a mad man and actually plugging it in! Notice the door that was inadvertently (?) superimposed to the far-right of the screen; gotta love local TV!

That’s enough about The Hoodlum. I just don’t have all that much to say about it, and besides, it’s time for the important stuff…

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The first skit of the night was an installment of Burn-Out The Dinosaur. For anyone questioning SOG’s sense of humor, these skits left little room for doubt: WARPED.

That’s exactly what these were, warped takes on Barney the Dinosaur, the big purple 1990s phenom that was second only to Urkel in inexplicable popularity. The premise of the skits was simple; generally, Burn-Out would manically laugh and abuse his co-host Brett. Brett filled the loving, caring, teaching role – one that wouldn’t have been out of place hanging with the actual Barney. Burn-Out was the insane half, and he came complete with a parody of Barney’s theme song, in which it’s proclaimed his mom is a streetwalker, his dad is in a bar, and Burn-Out himself makes a living by, what else, stealing cars.

In this installment, both Burn-Out and Brett are hungry for a late night snack, which leads Burn-Out to ask Brett if he knows what his favorite sandwich is. Why, it’s a knuckle sandwich, of course! The entire skit is basically an excuse for this little dinosaur puppet to pummel a grown man, even after Brett forgives him (because “forgiveness is an important part of life”). High art it ain’t, but then, it wasn’t supposed to be. Silly, funny stuff!

(Full disclosure: I still kinda like Urkel.)

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Mail time!

When I started writing to SOG (I believe my first letter was read on-air shortly into the new year), these were the segments I anticipated most, for obvious reasons. The man himself, reading correspondence from me, on the air?! What could be better?

I had no such correspondence in the mail for this episode, but that doesn’t mean segment isn’t fun. Among the entries read on-air, SOG got a package from The Beatnik Termites (they’re still around, too), and a letter from someone in Florida that was somehow seeing the show, a comment which lead to the first of several jabs at the station’s power signal – apparently it was coming in pretty weak in some areas of Northeast Ohio.

BUT, it’s the third letter read that I find the most interest in. It’s basically a fan letter, telling SOG how much they love watching him, but the question of how they can find out where SOG is appearing in-person (answer: “WATCH THE SHOW!!!!” – it’s wild to realize this episode is so old, SOG didn’t have an official website or email address yet!) leads to the announcement of his double-feature matinee at the Highland Theatre (more on that in a bit), as well as…

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The personal slant I mentioned earlier!

Yep, a week from that Sunday, SOG himself was there in-person at JC Comics & Cards! I was there! It was my first time meeting him! I. WAS. THERE. MAN.

JC was a big sponsor of The Son of Ghoul Show at the time, and his commercials were often seen during breaks (we’ll see one in just a bit here, actually). I was well familiar with the establishment already; it was nearby, I loved it, so yeah, I pretty much had to be there on December 14th!

Look, I went into further detail about this visit during the previously-linked 30th anniversary article, and I don’t really want to rehash it all over. Just go to the 30th anniversary post. Here, I’ll link to it again. I even have some photos from the event there! SOG was just the greatest at JCs, and indeed, I even talked about this personal appearance in the first letter I sent to him! See, this all connects, somehow!

(JC Comics & Cards is still at that exact spot; you should go there, because the place is awesome.)

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Mr. Banjo was up next. Another long-running skit, the premise was supposed to be the titular character (a hillbilly stereotype, basically) presenting old novelty clips. Technically, he did just that. But, what these bits always ended up as was Mr. Banjo constantly yelling (and often threatening) his green-screened dog “Boner,” who would bark incessantly. Trust me, it was hilarious, and even today when SOG runs one of these oldies, they’re crowd pleasers.

This installment doesn’t stray too far from the norm, though a clip of dogs running on spinning wheels provides yet another shot at the station’s power signal (that’s how it’s powered, y’see).

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Son of Ghoul-Zilla, a claymation bit in which a gigantic SOG rises from the sea and wrecks a city. Obviously a take on Japanese giant monster movies, with the cheesy special effects to match. This has been a popular short over the years; it gets regular airtime even nowadays.

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An event that was being pitched all night. That coming Sunday, December 7, SOG was appearing at the Highland Theatre for a double-feature matinee. For only $3, you got to see two full-length feature films, though they weren’t exactly Spielberg: 1996’s Dead of Night and 1997’s A Woman Scorned 2 were the features that weekend. As SOG claims later in the show, they’re hard-R flicks, which explains the whole under-18-you-need-a-parent disclaimer spouted several times throughout the broadcast.

I’m pretty sure I saw Space Jam at the Highland, though I don’t think I’ve been back since. It’s really just down the street from Time Traveler Records, I could probably walk there, should I so desire.

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With Christmas right around the corner, SOG was of course pitching his official t-shirt; at the time of airing, if you wanted one (or more) to get there in time for the big day, you had two weeks left. Afterwards, they were “discontinuing them,” at least for the time being. SOG has an especially-winning line here about getting them for “your offspring, or your fat hubby. Who could resist one of these after a pitch like that?!

It makes sense to promote these during the holidays, but what I find particularly interesting is the apparently limited nature of them at the time. T-shirts are big business for SOG nowadays, but back then, you had to act fast. According to the segment, they were only available in the large and extra large sizes, and again, they were touted as being discontinued for a time after the two weeks were up. Near as I can remember, that never quite came to pass, not for a lengthy period at least, but it’s interesting to look back on.

And no, that info in the screencap above isn’t still valid; you can contact SOG through his official website for current shirt options and prices, however. It’s amazing to realize that back in ’97, the only way to order a shirt was via snail mail, and nowadays it’s at the click of a button!

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The show finishes with the reiterating of the upcoming personal appearances, and then SOG busts wild moves as the end credits roll, which is really pretty awesome.

Ignoring that whole personal slant thing, it may be hard for some readers to understand why I’m so fond of this episode. After all, it’s solid, but more or less just a regular entry. And, the movie featured won’t raise many eyebrows. But, I think because it’s such a good, solid episode is the reason I’ve grown so fond of it. It’s a great example of how The Son of Ghoul Show was formatted at the time, and for me, so early on in my fandom, when I couldn’t wait to discover more of this stuff each weekend, this recording takes me right back. It’s December 1997, I’m 11-years-old, sitting on the couch, watching Son of Ghoul and anticipating Christmas all over again. A powerful blast of nostalgia this one is, for sure.

Plus, the movie wasn’t too bad, either.


And that brings us to the customary commercials section of the post. As usual, I like to recap some of the more interesting ads that aired during a respective broadcast. In this case, there’s a lot here that further fuels the whole nostalgia trip I’m currently on. Considering SOG is commercial-free nowadays, it’s a bit surprising to look back at a time when his show was pretty jam-packed with advertising.

Anyway, I’m not going to look at a ton of the ads from this broadcast, but I do have a few…

Quaker Square Christmas Village Ad

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Saaay, wasn’t I just at Quaker Square? I sure was!

Quaker Square Christmas ads were all over this airing. Mostly, their animatronic Christmas village was spotlighted, though time was also given to showcase the Square as the ideal holiday destination station, with places to shop, eat, etc. So, yeah.

I want to say I visited the Christmas showcase around that time. I was somewhere with animated mannequins (or whatever), though I can no longer recall if it was Quaker Square or not. Still, the local Akron Christmassy-ness of this ad hits home for me, so even if I wasn’t there exactly, it still rates pretty high on the nostalgia meter.

Princess Diana Commemorative Stamps Ad

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With Princess Diana’s death only a few months before, people were obviously still reeling. To that end, what better gift to celebrate her life than a commemorative stamp set and medallion for only $20? Because that’s exactly what this ad was for. Not exactly a solid fit for Son of Ghoul’s comedy, but hey, a sponsor is a sponsor.

This is the kind of collectible that was made to be collectible, and thus it’s probably worth like negative 32 cents nowadays. Or not, I don’t know. I certainly remember the (understandable) media frenzy surrounding her death, and while I don’t know this for sure, I’d imagine there were probably much less classy attempts to commemorate her than this. So, if you had a Diana fan on your Christmas list, I guess this wouldn’t have been a bad choice.

WAOH TV-29 / WAX TV-35 Happy Holidays Bumper

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One thing I always liked about WAOH / WAX (“The Cat”) was that the station had a strong local flavor. Obviously that was to be expected with them being a local independent station, after all. But, watching The Cat, it just felt like Akron; there weren’t many (any?) other stations at the time, or now, that I can say that about. It’s a thought that makes me miss the late-1990s and early-2000s Cat all the more.

In that local vein was this quick, simple “Happy Holidays” bumper, in which a voiceover wishes the viewer just that, while a stereotypical Christmas scene of Santa in a train resides in the background. I don’t know what it is about this exactly, but it just seems so right, so Christmas 1997 in Northeast Ohio.

WAOH TV-29 / WAX TV-35 WWF Shotgun Promo

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Professional wrestling was big, big business in the late-1990s, and while I can’t claim to have ever really been on that train (though I liked Hulk Hogan when I was younger – but then, who didn’t?), I certainly remember the massive hype surrounding all things wrestling at the time. Heck, for quite awhile, ECW actually followed Son of Ghoul on, I think, Saturday nights.

So anyway, The Cat managed to get the syndicated WWF Shotgun program on their roster, airing twice a week in an “okay” Tuesday night time slot, and a “screw that” Saturday afternoon time slot. Aside from Shotgun being ostensibly edgier than ‘normal’ WWF, I can’t say a whole lot about it, since, you know, I never watched wrestling. Nevertheless, this edginess is demonstrated via a promo featuring a lot of herky-jerky scenes and punctuated with effects not unlike those of a VCR fast-forwarding. Edgy.

So, The Cat had some WWF (back when it was the WWF) in 1997, and that’s something to be celebrated, right?

JC Comics & Cards Christmas Ad

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See, told ya we’d see JC Comics & Cards again!

There were several JC ads seen on The Cat, and SOG specifically, over the years. Near as I can tell, this one is the earliest, or at least the earliest I captured. In it, set to the tune of squirrels singing something Christmas-related, a Santa runs around the store, playing with toys, picking out shirts, and other “this is where Santa goes for his gifts” imagery.

Above left: Santa plays with a Millennium Falcon toy, which is fitting, because JCs was the place to go for Star Wars toys in the late-1990s, especially the vintage ones. To an 11-year-old, it was mind-blowing seeing that amount of old, rare Star Wars stuff all in one place. And his box of $3 loose vintage SW figures? I was all over that whenever I went in.

He still has tons of great rare comics, imports, collectibles, and so on. I wasn’t kidding earlier; if you’re anywhere nearby, you owe it to yourself to check JCs out.


Alright, enough.

As I mentioned during my intro to this post, this article is breezier than usual. I had been mulling over a post on this broadcast for awhile anyway, and when I deduced the original air date and realized the 19th anniversary was right around the corner, I just didn’t have a ton of free time to put it together. So, I apologize if this feels like a dash-off. It certainly wasn’t intended to be. It was either that or wait until the 20th anniversary. ‘Course, I didn’t have to post on the actual anniversary date, but that’s something I like to do whenever possible.

Still, I think you can get a pretty good taste of what made up my Friday (and Saturday!) nights at the time. Even though I taped countless episodes (which I still have), and even though Son of Ghoul is still on-the-air, I don’t know, there’s just something about going back in time and reliving when I was first being introduced to all of this. And when it comes to momentarily regaining that feeling, this episode is one of my favorites. For yours truly, it hits all the right bases; boy am I glad I had the foresight to record all this stuff back in the day!

R.I.P. Jim Chenot

When I woke up today, I was hit with news I hoped wasn’t true, I still hope isn’t true, but sadly is true: Northeast Ohio has lost one of the nicest, funniest, most genuine personalities it ever had or ever will have, Mr. Jim Chenot.

Jim was a fixture on Northeast Ohio radio, from his days on WONE 97.5 to the present with his tenure at 91.3 The Summit. Not only did he feature a vast store of musical knowledge, but he was genuinely funny, a true class act, a complete professional, and thus was an utter joy to listen to.

He was also my friend.

I first met Jim Chenot at Time Traveler Records back in, man, I guess it was 2011. The earliest conversation I can recall was talking Springsteen with him. With us both being fans, an instant camaraderie was found. The fact that we shared a similar, non-sequitur sense of humor didn’t hurt, either.

Five years ago yesterday (!), my brother and I were set to be guests on Jim’s popular Radio Sandbox program. Unfortunately, the very night before, November 29, I had a serious accident at where I then-worked. While I was home and technically ready to go on November 30th, I was still kinda doped up and, frankly, not in the best of spirits. To my everlasting regret, I had to pull out of the spot at the proverbial last minute. And yet, Jim could not have been any nicer. His genuine concern and understanding made my situation a bit more bearable. But then, that was just Jim; he was like that with everyone.

We intended to do a make-up date on his show, but unfortunately, our schedules never aligned. That didn’t change the fact that I looked forward to his regular visits at Time Traveler. Whenever I saw him coming in through those doors, I knew we were in for some fun.

I am just completely shocked, saddened and sickened by this news. I don’t know really what else I can say, other than the world is going to be just that much more worse-off without Jim Chenot in it.

R.I.P. Jim, you will be missed.

Ghoulardifest 2016!

“Hey, why’d it take so long to post this, North Video Guy?!”

I know, I know, this is a belated update. For the fourth year in a row, it’s time to cover my trip to the annual Ghoulardifest convention on this silly blog. BUT, I didn’t want to just do the same exact thing I’d done for the previous three re-caps again. Soooo, I took video there. Oh how I took video. A first for this site!

Now theoretically, videos should have made getting this post up quickly even easier, which would totally be in line with my usual M.O. of posting these reviews within a day or two, or at least the week of, my visit. So, why did it take so long this time? Simply put, I had audio issues with several of the videos – to the point where I couldn’t even use them. Don’t get me wrong, I could have posted them here, but I like to give the impression of having some semblance of professionalism (HA!), and thus, I just wasn’t comfortable with doing that. Heck, even the videos I can use aren’t always perfect, audio-wise.

You have no idea how incredibly disheartened I was by this. Seriously, more than once I came this close to just scrapping the whole re-cap this year; I just couldn’t work up the energy to write after this development. I felt (and feel) that I was letting the people down that were kind enough to take the time to film with me – but then, the same feeling applied to putting up a substandard video, too. So, since I can still use screencaps (where needed), I will cautiously proceed. Just several weeks late. (It didn’t help matters that I’ve also been fairly busy these past few weeks.)

All that said, if you were someone I filmed with whose segment is absent here, please accept my apologies; fate dealt us both a crushing blow!

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Sunday, October 30, 2016: I woke up tired. I mean, your pal me was draggin’. Y’see, I awoke to a chilly, cloudy, rainy day, and while I love a good overcast weekend, in this case I knew such things would never do. Add in not enough sleep, and a bedside clock that had reset due to a brief power outage during the preceding night, and, well, it wasn’t an auspicious start to my day.

Why the grogginess? Because the day before was bright, beautiful, and fairly warm for this time of year. In short, it was gorgeous. But, unfortunately, when the weather changes, especially when it changes rapidly, I have a habit of getting the grogs. In those instances, I rarely feel like doing much of anything. And yet, this particular Sunday, I would accept no groggin’. Well, I mean, it was there, but I did the best I could to ignore it.

That’s because it was time for Ghoulardifest! Yep, Big Chuck & Lil’ John’s annual convention celebrating the Cleveland icon was once again upon us, and like every year since 2011, I was there for the Sunday edition. I look forward to this year-round, but especially when fall hits Northeast Ohio; the season just wouldn’t feel right without the ‘Fest!

Like the previous three years, the convention was held at the plush LaVilla Conference & Banquet Center. My photo above makes it look inappropriately foreboding; overcast day and all. Trust me, the LaVilla is beautiful.

Since the inception of this blog, I’ve covered my annual trip to the show. For those so inclined, you can check out my coverage of the 2013, 2014 and 2015 shows here. You can watch my writing skills gradually increase! Or, read ’em backwards and watch my writing skills decrease! It’s fun for the whole family!

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There are some downsides to only going on the third (and last) day of the convention. Jan Jones, Tim Taylor and Robin Swoboda, local legends all, were in attendance – on Saturday. Also, I missed my buddy Mike Olszewski, which hurts me deep. Furthermore, the Cavs Championship trophy was supposed to be on display all three days, but if it was there Sunday, I sure didn’t see it.

(Fun fact: I played basketball, poorly, in the fourth grade, and I later went to high school with LeBron; my first two years were his last two years. So, do enough mental gymnastics and you can pretty much thank me for the Cavs winning it all! You’re welcome, Cleveland! I will now sit back and anxiously await your accolades!)

‘Course, that’s not to say there’s nothing going on by the last two day; there’s cool merch and celebrities as far as the eye can see no matter what day you attend. As expected, my brother (who always comes with) and I had a terrific time – and yes, I’m already jonesing for next year. If my merchandise haul was substantially less than previous visits (and it was), it was only because I’d bought most of the stuff that strikes my fancy already. And yet, I left satisfied nevertheless; Ghoulardifest, no matter what you buy, who you meet or what you do, is always an experience, and this year was no exception.

Above: The ever-terrific shirts table, which lines a good portion of the left side of the main room. One of my top favorite buys this year came from these tables; we’ll see that momentarily.

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Like other similarly-themed conventions, there’s memorabilia everywhere you look. Toys, games, records, CDs, DVDs, movie posters, glassware, you name it, there’s a good chance it’s there.

Indeed, as I’ve mentioned in previous re-caps, Ghoulardi is really just one facet of Ghoulardifest; obviously Ernie Anderson’s legendary horror host and Big Chuck & Lil’ John are the main draws, but Ghoulardifest is also a celebration of horror and sci-fi in general, horror hosts as a whole, music (particularly 1960s music; The Beatles and such), and other areas of pop culture. Even if someone wasn’t enamored by the main draws (yeah, right), there’s still plenty to take in at Ghoulardifest.

Above: My attempt to show off the various wares in one all-encompassing shot. I wasn’t at all successful, but you can see the kind of cool stuff available there. I’m diggin’ that Addams Family 45!

That’s my brother photo-bombin’ to the far left. Thaaaaaaanks Luke.

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Aww, Son of Ghoul, you wacky guy! It continuously blows my mind that the guy I grew up watching now kinda sorta knows me – thanks in no small part to all the crap I’ve sent to his show over the years. Plus the interview. Plus Monsterfestmania. So, is it too early to go around proclaiming him my best friend in the whole wide world? That might be a bit premature, but I am considering it….

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I’ve mentioned this before, but one thing that endlessly impresses me about our local celebrities is just how fan-friendly they all are. These people not only give their fans the time of day, but also truly go the extra mile for them. Son of Ghoul, absolutely, as well as Big Chuck & Lil’ John, who you are helpfully seeing above.

Case in point: They (naturally) have helpers, but these guys all sell their own wares themselves, and they all are very free and giving with their time, answering all questions, taking pictures, and so on. Northeast Ohioans are fortunate to call people like this their own.

Much to my chagrin, Chuck & John had sold out of their new “Top 20 Skits” DVD that very morning, which was a fan-voted project. (Yes, I contributed my picks.) I was really looking forward to picking up this DVD, but I knew it was going to be a hot-ticket item, so what can you do? I thought about throwing a tantrum, until I remembered that Big Chuck & Lil’ John are two of my heroes and that probably wouldn’t look too good to them.

Speaking of Big Chuck & Lil’ John…

I totally filmed a quick, mostly off-the-cuff bit with them! This, needless to say, ranks up there with the proudest achievements of my life.

Backstory: The video doesn’t lie; Big Chuck has endorsed the Empire Window Company for quite awhile. The commercial for them in which his Stash character falls from a ladder is positively ingrained in my memory, and that ad goes back to at least 1991 – and it certainly aired for a long time afterwards. So, when print ads featuring Chuck began showing up in the mail a few years ago, I really did begin cutting them out and saving them. It started out as just a funny thing to progressively hang more and more of on the fridge, but after awhile, the action became something that felt more like a duty. Result? I have a ton of these, far more than what’s seen in the video.

Eventually, the joke arose between my brother and I that it would be funny if I brought them all up to Chuck and asked him for a free window in exchange, though of course these ads aren’t coupons, and no such offer actually exists anyway. And thus, the genesis of this bit was born. I naturally briefly explained to Big Chuck & Lil’ John what I wanted to film beforehand, but it was more of an outline than anything, and truth be told, I only expected a quick, few-second video – which would have been more than enough for me. But MAN, these guys are total pros; they just completely took the idea and ran with it, and absolutely brilliantly at that!

Because the last thing I ever want to do is step on anybody’s toes for any reason, prior to posting I did indeed contact the Empire Window Company to make sure everything would be fine with them regarding this bit. They simply couldn’t have been any nicer; no kidding, they were just wonderful. The Empire Window Company gets my legitimate, heartiest recommendation. If you need windows, siding, doors, or what have you, head to the official Empire Window Company website!

Some of the dreaded audio issues I mentioned at the start of this post reared their head here. Not so much in the Chuck & John portion, but rather, I wasn’t quite happy with my intro on the video. I had to take whatever measures I could, and therefore, you’ll notice (especially since I outright say so) that I dubbed over the audio in the first half of the video above. It was necessary, and while a bit glaring, I don’t think it hurts the final product; indeed, nearly a month later, and this bit still cracks me up! Some way, somehow, this happened!

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Unfortunately, no amount of dubbing could save my bit with Son of Ghoul, and thus, you only get this screencap. This hurts me deep.

The premise was that SOG knows me, we’re pals, we’re tight like Gs, and therefore when I go up to him, it’s like two old friends meeting. Of course, the punchline is that SOG has no idea who I am, he stares at me blankly, and then calls for security to throw me out. It’s the funniest thing in the world, and I can’t use a second of it.

It should be mentioned that these audio issues weren’t really a fault on the part of me or my brother, who was filming. Maybe I could (and should) have spoken up a bit here and there, but the main thing was that it was just loud in there. This was not a fault of the venue or anyone else, but between the live music and the crowd, well, it all tended to drown out the microphone of my brother’s cellphone. But, it is what it is.

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Same deal when I semi-interviewed Jungle Bob Tuma. (His official website) Like Son of Ghoul, JB knows me, we’re buddies, and it really, really pains me that I can’t use this video. We even stepped out into the hallway for this, and yet, you can still hear the music inside more than us. Again, it’s not anybody’s fault, it’s just how things worked out. Had this been in a more-controlled environment, the results would have been different, but when you’re filming things on the fly, well, you take your chances.

This was less of a skit and more of a chat; JB explained why he didn’t bring any animals on this last day of the show; it being the final day, and there being celebrations afterwards, it just wasn’t a good idea to bring them, especially if they’d need to be left in the car after the show. (I made a crack about winding up with a deep fried tarantula if the animals were brought into the restaurant that was practically Letterman-worthy… or not.)

You know what’s awesome about Jungle Bob? If you watch him on The Son of Ghoul Show or catch one of his appearances, he’s just as engaging in-person as he is during his performances. The man is a born entertainer, and besides being wildly informative about animals, he tells absolutely great stories. Jungle Bob is the man.

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I loved doing this one, so of course I can’t use the video. Do I sound like a broken record much? I don’t like it either, bucko.

I was excited, and more than a little nervous, to film this. Why? Because even if this was my first time filming at a convention, I at least have some in-person experience with pretty much everyone involved. BUT, as far as The Mummy & The Monkey go, I first met them at last year’s Ghoulardifest. They were absolutely wonderful, of course, but still, I was nervous about asking them to film. Also, don’t forget, I was draggin’ and not exactly on my A-Game that day. (And my A-Game is probably like most people’s C-Game, anyway.)

I needn’t have worried. Janet “The Mummy” Jay and James “The Monkey” Harmon were terrific. Some funny wordplay (I kept trying to remember which is The Mummy and which is The Monkey) led to the natural progression of where the people can see them. It wasn’t a particularly long video, but we covered a lot of ground, and to me, it was all marvelously entertaining.

But, the best part about talking with them wasn’t even captured on film; afterwards, we had a discussion about old tapes and cool winnins and so on. It was a gratifying (and almost-totally-new-to-me) feeling to actually talk with people that understood the same things I do. Also, it’s funny that I didn’t even really comprehend I was talking Betamax with a guy in a gorilla mask; it must have been wildly surreal to anyone overhearing our conversation. Or not, I don’t know.

Hey, another real, actual video! It’s about time!

My buddies from Monsterfestmania, Mike Mace and Dave Binkley, were on hand to promote their show, The Weirdness Really Bad Movie. Even though I had met them in-person just a few months prior, this really was like an old-friends-catching-up sorta thing. It was great. Let the video above tell the rest of the story!

Fun fact: Mike himself was on American Pickers just this past week! Cool winnins!

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This was certainly the wildest video I took. The screencap just doesn’t do it justice.

What started out as a chat with Bill “Greatest Voice Ever” Ward (he was the WJW TV-8 announcer for years) quickly devolved into just a general screwing around when Teri Wells, daughter of Bob “Hoolihan” Wells popped in. It was an absolute riot, climaxing in Ward’s dead-on Clint Eastwood impression. And Teri was just the nicest.

Unfortunately, this more than any other video was hurt, audio-wise. Due to the activity around us, large chunks of it are incomprehensible, and to make matters worse, poor Teri had laryngitis. It’s a real shame, because it was fast, funny and freewheeling.

That said, if you ever have the chance to speak with Teri Wells or Bill Ward, do so, because man they are just great.

A quick bit with Bob “Hoolihan” Wells!

Unlike previous years, we wound up staying at Ghoulardifest until pretty much the very end. There was much to see and do, not to mention filming videos, that it took a whole lot more time than I was anticipating. Still, I was able to catch up with Hoolie just as he was getting ready to go on stage for the show-closing group photo. It’s a brief video, but it’s awesome. Why? Cause Hoolihan.

Backstory: During the old “Soulman” skits from The Hoolihan & Big Show, Wells was always the narrator, and oftentimes he’d let out a great, dismayed “Ohhhhh Noooooo!!!” that I endlessly love. Thus, I asked him to give me one such “Ohhhhh Noooooo!!!” there in person, but because we were in such a hurry, I forgot to reference what I was talking about! You can see my kinda-goof in the video above.

Even though he doesn’t live in Northeast Ohio anymore, just like everyone else involved in this sort of thing, Bob Wells is always the nicest, most generous guy you could hope to meet. He’s good people!

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Because we were there to pretty much the very end, we were able to witness the convention-closing group photo; a wonderful moment. I fought the urge to go onstage and join them, though the confused looks of all involved would have almost made up for the undoubted subsequent escort to the parking lot by security… almost.

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And yes, we did indeed stop by the nearby Big Boy for the annual post-Ghoulardifest meal. Super Big Boy, you are a burger among burgers. And the fries! I’m not a big fry-eater, but Big Boy’s are always fantastic! Also, our waiter was phenomenal and got a well-deserved monster tip.

Look at that pic above. Big Boy has no qualms with the oncoming rain. Dude’s been around forever; you think a little water is gonna phase him? Nope!

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Like I said before, my merchandise haul was substantially less that previous years. That doesn’t mean I didn’t pick up some cool winnins though, cause I did.

Above: Another Son of Ghoul DVD to add to the collection (The Death Kiss), a Ghoulardi bumper sticker (at a buck a pop, I bought a few), and a Big Chuck & Lil’ John mug I’m this sure I don’t already own. Not that you can ever have too many, of course.

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But this, this was the big buy of the year: A Ghoulardi shirt celebrating the Cleveland Cavaliers’ monumental win in the NBA Finals! I’m a huge Cavs fan, so I flipped when I saw this! Forget buying just one; I bought two! One of the faces of Cleveland, pitching the historic win that was a true victory for all of Northeast Ohio? It does not get any cooler than that! I like wearing sports shirts, and I like wearing Ghoulardi shirts, so this was directly up my alley! I love it.

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And with that, the Ghoulardifest 2016 re-cap comes to a close. Was it worth the wait? I think so! Well, I hope so. I’m ready for Ghoulardifest 2017, either way!

Until next year, LaVilla! (Hopefully, the weather will be more fitting for the event!)

Amvest Video’s Grampa Presents VHS Series: 1968’s “Night of the Living Dead” (1988)

Happy Halloween!

It’s here! The big day! Halloween! It comes but once a year!

Now, some of you are out trick-or-treating, some of you are out partyin’, and some of you are watching the appropriately “spooky” movies. Heck, you adventurous-types will quite conceivably get around to all three before the day is out.

But it’s those of you in the 3rd camp that I identify with most. I haven’t trick-or-treated in years, and even when I did, I could never find a costume I really liked and/or a mask that I could stand wearing for longer than 3.7 seconds. And parties? People generally annoy me too much to make me want to go to one of those. (Plus, I don’t know anyone having one.)

But movies? And while we’re at it, Halloween-themed TV in general? That gets your pal me in the holiday spirit! And man, I have found a tape that exudes that Halloween spirit so overpoweringly, they may as well have created the holiday just so it could exist. And the thing is, it’s not even specifically tailored to Halloween. No, this one just hits all of the horrific hallmarks, and it hits them perfectly.

I now present quite possibly the be-all, end-all release of the perennial Halloween movie, 1968’s Night of the Living Dead. Yes, the film has been released on home video countless times since pretty much the dawn of, well, home video. But this, this version, this is the zenith, the peak, the ultimate. Put out by Amvest Video in 1988, it took 10 years of video releases to do the movie right, and despite all the restorations and remasterin’ and whatnot the film has endured since, I dare say they’ve all fallen short of attaining the sheer magnificence that Amvest managed. This was lightning in a bottle, baby. Or something like that.

Behold!

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*Cricket Chirps*

“…So what, North Video Guy? It’s just another old VHS release of Night of the Living Dead!”

NO IT’S NOT AND HOW DARE YOU SUGGEST OTHERWISE. Okay, fine, sure, it looks fairly ordinary – on the surface. Upon first glance, you may very well be tempted to immediately write this one off as just another cheapie video release of the immortal fright flick. Heck, had I not known better, I may very well have done the same thing. You don’t get the whole picture from the cover art alone, is what I’m saying.

Not that I’m not saying the cover art is bad, mind you; indeed, you can’t go wrong using the fantastic original poster for your VHS sleeve. Granted, Amvest wasn’t the first nor last video company to use this original artwork, or at least a portion of it, but considering the sheer number of other, amateurish lookin’ releases out around the same time, this one does look decidedly more competent than many.

The original poster art was black & white, so Amvest (or someone) added some color to make things pop. Remember, video rentals were a big business at the time, and if you were going to put something on those shelves, you had to make it really jump out towards the prospective renters as much as possible. Plus, when you’ve got like 9000 VHS versions of the same movie competing against each other out there (we looked at one of ’em before!), well, details such as that could very well make the difference between a rent/sale, or continued shelf-languishing.

Look, all I’m trying to get at is that the cover art looks good. And, if nothing else, it doesn’t totally give away the ending like one VHS release from around the same time did. (That still astounds me; you’ve got 90 minutes of film to choose a screenshot from, and you go with the ONE scene that ruins the whole thing. But, I digress.)

Okay, so upon first glance, it seems this is a competent but rather unremarkable VHS release of Night of the Living Dead from the 1980s. Not a bad way to spend an old-school Halloween night, granted, but where does the magic come in? Why all that hype during my intro? Well, I presume you read the title of this post, didn’t you?

Yes, this tape was part of the Amvest “Grampa Presents” VHS series, and thus features Al “Grampa” Lewis hosting what is quite possibly the greatest horror film of all-time. Cool winnins! If this don’t don’t get yo’ Halloween spirits fired right up, well then I just don’t know.

“W-w-well where’s Grampa then, North Video Guy?!”

For those of you paying attention (all two of you), this series of tapes is one of my favorite subjects on this blog. Indeed, this will be the fourth (and, I hope, ultimate) article detailing them. As we saw a few weeks ago, these Grampa Presents tapes usually had Lewis’ visage and other appropriate hoopla plastered on them, but that didn’t necessarily mean he’d be on the tape. Well, as we’re about to see, it works the other way too, bucko.

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This post today is the ultimate culmination (blog-wise) of what began last Halloween. As you’ll recall (maybe), last October 31st is when I first looked at one of these tapes. I had long been intrigued by them, and I made a concerted effort to not only finally add one to my collection, but also to review it for that Halloween day. As I’ve semi-jokingly grumbled about time and time again, these Grampa Presents videos were strictly budget affairs (VHS releases that, back then, you’d typically find for around $10 – or less), and that first tape, a copy of 1939’s The Human Monster, demonstrated this aptly; it was duplicated in the LP recording speed, but on a tape with only enough to fit something in the EP speed. In other words, the tape ended before the movie did.

After that wacky little mishap, rather than turn me off the whole thing, I was only further intrigued by the series. Not only because I was begrudged a whole movie/show/whatever the first time around, but also because no one was/is quite sure just how many installments were actually released. I’m going to explain further in a bit, but rest assured, until I got this tape, Night of the Living Dead was one of the ones I wasn’t convinced existed. At least not with Grampa on the premises.

So anyway, that Halloween post last year gave way to my New Years post this year. There, with a (complete!) copy of Grampa’s The Corpse Vanishes added to my collection, I posted what I wanted to write the first time around; an insanely in-depth review of not only the tape itself, but also a look at this Grampa Presents series as a whole. While I wanted all that to be the final word on the subject, I’ve learned more since then, and frankly, Grampa hosting Night of the Living Dead is so unabashedly awesome, methinks I’m allowed to tread over some of the same ground again. And even if I’m not, I’m gonna; it’s my blog and I’ll do what I want.

(I have a feeling this review is going to get around more than my earlier posts on the series, so I really will be treading some familiar ground here; this is aimed at those new to the subject, so you longtime readers, please bear with me! For many, this will quite possibly be their first look at this obscure video series.)

If you read any of my three previous Grampa Presents posts, you’ll notice that the sleeves feature, you know, Grampa. This series started in 1988, and his caricature and quirky lil’ rating system were supposed to adorn each of the respective tapes, though they were inexplicably left off some. But, that’s not when Amvest/Vintage Video/VideoFidelity/whoever (there’s a lineage of divisions/names, but for the sake of ease, it’s all Amvest to me, okay?) first started releasing movies on VHS; that goes back to *at least* 1985, as you can see in the copyright info above. Their output featured a wide range of genres, and when the Grampa series started in ’88, they just took the appropriate horror/sci-fi titles already released, kept the same catalog numbers, and later ostensibly re-released them as part of the Grampa line.

I say “ostensibly” because prior to finding this tape, I was dubious that any of those earlier titles had actually been later “Grampa-ized” in any way, and I had obtained several ‘plain’ titles that bore that out. I’ll explain further later.

For now, this tape, it has the appearance of one of those ‘plain’ 1985 Amvest tapes. Unlike the decidedly budget-looking qualities of the ’88 releases, these ’85 tapes were, outwardly at least, similar to the Goodtimes and Congress Video products of the era. Even the font and general layout is similar.

Though, I find the summary on the back…kinda strange. That “Look out earthlings!” opening line misleadingly makes this seem like it’s going to be an alien invasion saga. And that whole radiation explanation? That was a theory presented in the film, but the actual cause was basically left unanswered. I object to the “sci-fi thriller” genre labeling (it’s a horror movie!!), and the statement about taking “the horror movie cult by storm” is oddly worded at best. Also, it’s “flick.”

(Also sorely, sorely missed? The “Grampa’s Ratings” feature from the sleeves that were specifically tailored to Grampa Presents entries. How many bats would this film have gotten? Hopefully, all of them.)

Aw, does any of this really matter? Budget Night of the Living Dead releases were no strangers to oftentimes ill-fitting summaries on the sleeves, and besides, we’re about to see what makes this a candidate for greatest home video release of anything ever…

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GRAMPA!

When I purchased this tape, I naturally had my hopes, but from all outside appearances, I figured this was going to be a ‘regular’ Amvest release. Which, hey, if my previously-held theory that this was one of the titles that never had Grampa grafted on held true, this was at least as close as I could get. The catalog number was matched if nothing else, and besides, none of these Amvest tapes, Grampa or otherwise, are easily found. This particular release of Night of the Living Dead proved to be exceedingly rare; indeed, the first copy I saw for sale is the very one we’re looking at this Halloween day!

So, I get the tape, I have to rewind it, I start it at the beginning, and duly proceed to flip my beans. The second the familiar (to me) Grampa intro appeared, I was pretty much already proclaiming this to be the all-time crowning achievement of home entertainment. Look, y’all can watch your mega-deluxe remastered Blu-ray copies of Night of the Living Dead all you want, the fact remains that they (probably) don’t open with a bat being “zapped” by lightning and transforming into Al Lewis, who then continues to flap his arms around appropriately, and all in front of a green-screen (blue-screen?) with generically spooky music in the background. Therefore, this release is clearly the superior choice…if you can find it, that is.

Al Lewis’ famous Grandpa Munster character was going through a resurgence of sorts in the late-1980s and early-1990s. ‘Course, he didn’t go by that moniker, it being copyrighted and all. Thus, the “Grandpa Munster” name gave way to a simple “Grampa,” which was how he was often billed in his post-Munsters endeavors. Everyone knew who he was supposed to be, anyway.

Among his many ventures during the time-period: Starring in a (thematically) similar horror host-showcase for TBS, 1987-1989’s Super Scary Saturday. Also, having his own Atari 7800 game, 1990’s Midnight Mutants; even when ignoring my fondness for Lewis, it’s my pick for best game on the system (and along with Double Dragon, easily my favorite).

Heck, dude even had his own NYC restaurant for a few years. Fun fact: I’ve got a matchbook and a take-out menu from said restaurant in my collection. They make me feel like a big man.

So, these Amvest tapes were just another part of that career resurgence. Even though they seem to have gotten a promotional push by Amvest at some point (well, promotional buttons were made up, anyway; I’ve seen one, they exist), the overall distribution was so limited that they’ve wound up fairly unknown in this day and age. As I’ve stated in my other articles on the subject, these videos range from “highly obscure” to “impossibly rare” (and I’d say this entry definitely falls towards the rarer side of that scale), though truth be told, regardless of rarity they all seem to average around $20 to $30 used. Sometimes even less. Look, these Grampa Presents tapes are worth more than, say, that old VHS copy of Jurassic Park floating around your basement, but in the grand scheme of things, they’re not that valuable.

They are undoubtedly cool, however…

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These weren’t the first tapes to introduce direct-to-video horror hosting; Elvira’s Thriller series was (near as I can tell) the one to kick it all off, back in 1985. (Remember when we looked at Elvira’s VHS hosting of The Cyclops?) Those Thriller tapes were pretty major releases; big, eye-catching boxes, high quality SP recordings, and Elvira at (or very near) the peak of her popularity. In some ways, this Amvest series feels like the budget answer to those Thriller videos, though they probably weren’t intended to be. Or maybe they were, I don’t know.

There were (supposedly) a whopping 59 individual Grampa titles in this series; I’ll give you the whole list in a bit. For those that may want to check out some of these but aren’t weird enough to go after ’em all (like I am), I’ll tell you right now: Grampa’s intros and outros (there are no during-the-movie segments) for each title are exactly the same. What, you thought Lewis was gonna film 59 unique intros and outros? Nope! So, if you’re going for one, you can make your choice based solely on what movie you’re fondest of. ‘Course, that depends on if it was a title actually released with the Grampa segments, and whether it’s even remotely possible to find, and so on and so forth.

The only thing different from tape-to-tape was a moment where Lewis asks the off-screen Igor to tell viewers the name of “this monsta flick!” There’s a silence where a respective voiceover would be added, giving the title and stars, while Lewis looks on expectantly. It’s not a bad idea really, except most of the time Amvest didn’t even bother including the voiceover, which means that Lewis excitedly proclaims “THAT’S THE ONE!!” to absolutely nothing – which is actually really, really funny. My brother, who had never seen one of these prior, joined me for this viewing and got a laugh out of the moment, along with sharing a well-stated “Awkward!”

Lewis’ Super Scary Saturday on TBS is probably the first thing that comes to mind for those that haven’t seen one of these tapes but are imagining a horror hosted showcase starring Grampa. If you pick up one of these Amvest tapes, don’t go in expecting anything close to that show; Amvest was strictly a budget outfit, and boy, it shows. Forget the relatively big-budget, expansive set of the TBS show; Lewis does his entire shtick in front of a green (I guess) screen, with images of a castle (from White Zombie, I believe) and a lab (complete with squiggly neon accents; hey, it was the 1980s) flashed behind him at appropriate moments.

Lewis had his Grampa shtick down to a science by that point, which was fortunate, because he was basically on his own here. Not only does he have to introduce the proceedings and explain this Amvest video series, but he also has to be entertaining. To that end, he cracks jokes about people confusing him with Paul Newman, states this is all taking place in “Downtown Transylvania,” and posits that he’s 316 years old.

And that’s all in addition to yelling at the aforementioned, off-screen Igor. Igor is also unheard, though the voiceover that was supposed to be added (but usually wasn’t) was intended to be him.

These intros and outros add up to under 8 minutes total, but they absolutely give the tape(s) genuine personality. And, Grampa’s promise of “we’re gonna watch it together!” in regards to the movie, obviously it’s just meaningless hype, but it does do a lot for the atmosphere. There’s almost a personal connection here, which was (is?) in the best tradition of television horror hosts. It’s one thing to dryly introduce a film, but it’s another thing to establish a rapport with the audience. Lewis easily manages that. And not just because he was currently hosting movies on TBS when this was made, but also because he was just that good at what he did in general.

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Movie time!

Night of the Living Dead is an intense film, a great film, a genuinely scary film. It’s not exactly a fun film, though. Not in a comical sense, I mean. So, the jokey Grampa segments that bookend it may sound like they’re at odds with the rest of the tape. But, those contrasting styles are part of what makes this so appropriate for today. Halloween is about the scares and whatnot, sure, but it’s also about havin’ some fun.

And, those differing styles are another throwback to honest-to-goodness television horror hosting. The host was there to provide a little levity along with the horrific proceedings. So here, it all just clicks. In a cheap, old, budget VHS sort of way, naturally, but obviously that’s right up my alley. Your mileage may vary, of course.

As evidenced by the screenshots, Amvest did not have access to the highest quality print of Night of the Living Dead in existence. Nope, this is a rough one. It’s pretty blasted, scratchy, dirty, what have you. You can even see the edge of the frame (?) at the top of the screen throughout, as evidenced above. Lotsa crackles on the soundtrack as well. Obviously, this copy of the film made countless trips through the projector before it wound up in Amvest’s hands.

But you know what? None of that really bothers me. I mentioned this in the previous Nosferatu post, but films of this nature, they can sometimes benefit from grainy, worn print quality. Only to a point, granted, but sometimes accumulated wear to a print can enhance the feel of a movie.

“What the H, North Video Guy? You don’t want these movies lookin’ good, G?”

I didn’t say that, you incredible tool. Obviously it’s preferable that a film look as pristine as possible, especially when it’s a movie as important as Night of the Living Dead. THAT SAID, the unflinching storyline, the grainy film stock, the claustrophobic atmosphere, the immersive camera-angles, the gradually-ramping intensity, it’s all somehow made even more otherworldly, even dreamlike, by the quality of the print on this tape. It almost feels more nightmarish, like you’re peaking in on something better left unseen.

So, the condition of this print of Night of the Living Dead, plus some less-than-stellar duplication and the EP recording speed, by all means none of it should work in the favor of this viewing experience. And yet, somehow, it does. Criterion won’t come a-callin’ for a copy of this version anytime soon, but for our purposes here today, it’s perfect.

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A zombie shuffling through a graveyard, in black & white, via a cool tilty camera-angle? Looks Halloween appropriate to me!

I have strong Halloween-connections to Night of the Living Dead. Yeah yeah, real unique, I know. Like so many others I’m sure, that’s when I first discovered the film. Well, technically it was November 1, 1997. I’ve talked about this before, but it was through The Son of Ghoul Show that I first saw the movie. At the time, Son of Ghoul was running on both Fridays and Saturdays, same episode both nights, from 8 to 10 PM. That weekend, October 31st fell on a Friday, but it was some channel surfing on the following night that introduced me to both The Son of Ghoul Show and Night of the Living Dead. I became a fan of both immediately.

Night of the Living Dead gripped me in a way no other film did, at least not up to that point. Even with the customary humorous sound effects Son of Ghoul added to it (this being my first episode, it took me a moment to realize what he was doing, but I loved that aspect, too), I was completely and utterly riveted. I just had never seen anything like it.

Since Halloween fell on a Friday that year, Son of Ghoul naturally had things covered. But obviously, it didn’t always work out that way. Luckily, when it didn’t, that same station (WAOH TV-29/WAX TV-35) customarily ran the film itself (as opposed to syndicating America One Network content, as they usually did) on October 31st. This was an entirely different print from what Son of Ghoul had, and truth be told, it exhibited a lot of the scratchy, worn aspects that I feel can and do add an extra nightmarish element to the film. In fact, it’s from those annual airings that I first realized this! For the sake of comparison, I once wrote about one of those broadcasts here.

I consider Night of the Living Dead the capper to my generally-preferred era of classic horror & sci-fi films. Actually, it comes a bit later, to be honest. I usually go for the Universal classics of the 1930s and 1940s, the poverty row films from the same period, and the cornball stuff from the 1950s and early-1960s. After that, my interests wane considerably. I wasn’t always quite so narrow-minded; I wound up like this through years of watching, re-watching, taste refinement, what have you. Hey, I gotta be me.

Night of the Living Dead, however, transcends my admittedly self-imposed limitations. Besides my nostalgic history with the film, I just find it an absolute masterpiece from start to finish. Everything about it works, and works perfectly. The acting, the plot, the claustrophobic intensity, the subtle (or maybe not so subtle) social commentary, the camera-angles, it’s all simply fantastic. The low budget that would have hampered almost any other film instead gives this one a gritty realism. There’s a real substance behind Night of the Living Dead; it’s not just a bunch of zombies eating people in order to give the audience a gory body count and little else. I detest that kind of film making, which is why I respect director George A. Romero so much; there was always more to his work, and this movie is a prime example of that.

Do I really even need to explain the plot of Night of the Living Dead? Just about everyone has seen it; with the public domain status, there were (are) numerous home video releases, television airings, even free and legal online downloads. You almost have to be trying to not see this movie!

Still, I suppose a brief summary is in order: For reasons never satisfactorily explained, the recently dead are returning to life as mindless zombies (or as the film deems them, “ghouls”), who then proceed to murder and eat the flesh of the living. Through various circumstances, on the night this situation first breaks, seven people of differing backgrounds and personalities find themselves in an isolated Pennsylvania farmhouse – a farmhouse that is surrounded by the creatures, whose numbers are progressively growing. The idea is for those trapped inside to work together, to either fortify the house until morning when a rescue party will (hopefully) be by, or safely escape to a rescue shelter in the city. Human nature being what it is, especially in a crisis, well, it doesn’t go quite as planned…

Look, I have a hard time believing anyone stumbling upon this article hasn’t seen the original Night of the Living Dead, but if by some strange occurrence you haven’t, you can watch it here, or at least read more about it here.

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Like I said a bit ago, Night of the Living Dead isn’t just a “zombies eatin’ guys, yo” movie. There’s more to it than that, including some pretty terrific social commentary lurking beneath the surface, with much of the film being an allegory for the Vietnam War. I’m far, far from the first to point out there are moments where Night of the Living Dead resembles gritty newsreel footage, and while the connection may be easy for some modern viewers to overlook, at the time of release it had to be hard for viewers of a certain age to miss.

But probably the most visible influential element, beyond the plot and what it did for the horror genre, is the star: Duane Jones. Jones plays Ben, the hero of the film. Of all the characters, Ben is the most level-headed, resourceful, and calm (to a point). Ben also happens to be black. To have an African-American in the lead role of a horror film, as the sanest voice of reason, in 1968, that was a huge deal. It was a monumental leap from Mantan Moreland in King of the Zombies, that’s for sure! And what’s more, while there appears to be some underlying racial tension, his color is never referenced in the movie; he’s simply another person trying to survive the onslaught of the undead. I like that.

Ben gets a legitimately awesome first appearance, literally jumping into the frame after his truck pulls up to the farmhouse. (In other words, you know immediately he’s cool.) Ben is also the subject for one of the most shocking conclusions in film history. I know practically everybody and their mother has seen Night of the Living Dead, but I’m still hesitant to spoil it. If you’ve seen it, you know. If you haven’t, go see it. I’ll never forget how absolutely floored by it I was upon that first viewing nearly 20 years ago. (Almost 20 years? I refuse to believe it’s been that long!)

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There were technically zombie films before Night of the Living Dead, (the aforementioned King of the Zombies comes to mind, as does 1932’s White Zombie), but the zombie genre as we know it today basically begins here. Earlier films regarding the subject were more along the lines of people in a trance, products of voodoo, those kind of zombies. The idea of the shambling, mindless, flesh-eating zombie – an idea that found life in a thousand Italian rip-offs (which I hate), the Resident Evil video game series (which I mostly love), today’s The Walking Dead, and of course the sequels to this Night of the Living Dead – it all started here. There’s been some differences over the years: the zombies in Night are scared of fire, whereas those in The Walking Dead are drawn to (or so I’m told; I’m not a Walking Dead fan), but the basic concept has remained the same. You still gotta kill the brain, man!

Part of what makes the film so effective is that we don’t know why the dead are rising and going after our flesh. As I mentioned before, there’s a radiation explanation, in which a satellite returning from Venus was detonated in our atmosphere, but it’s more of a theory than a definitive conclusion.

Or rather, that was a theory presented in the film, but not this particular version of it; that explanatory scene has been edited out of this print! Well, most of it; there’s a short, short piece left in. (There’s also another fairly-obvious bit of editing later, and that one looks then-recently implemented; to make more room for the Grampa segments, perhaps?)

I’m actually okay with the exploding satellite theory being excised from this version, which I’m a little surprised to hear myself say; under normal circumstances, the idea of needlessly chopping up a film, especially a masterpiece like this one, that’s the sort of thing that can cause me to fold my arms and pout for hours on end. But here, it’s so much scarier not knowing why this is all happening. The satellite theory was never conclusive evidence anyway, and all it did was subsequently muck up the reasoning for the outbreak. (Case in point: the back cover for this VHS release!)

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Above: Johnny’s coming to get you, Barbra!

Upon this latest viewing, I was struck yet again by just how perfectly-paced this film is. The ramping intensity is something to behold. It starts out foreboding but calm enough, and then grows increasingly nerve-wracking, until the natural boiling point is hit and it all goes careening out of control. You can almost feel this living dead situation grow from something relatively small and not very well understood into a legitimate, widespread crisis. That the movie is so convincingly able to put this forth when, for the most part, it’s only seen from the viewpoint of those trapped in the farmhouse, it’s a testament to just how well-made it is.

And furthermore, because there’s such a wide-range of dispositions on display via the different people inside, it’s almost like a gauge of how the world at large is dealing with the onslaught. From the relatively calm and resourceful to the angry knee-jerk to the indecisive, and even to the victims of the plague, a large slice of human nature is on display – and over the course of the film, some of those lines are occasionally blurred. It speaks to the different personalities of not only the main characters, or even the fictional world beyond the farmhouse, but to us, the very real individuals watching the film! I’d guess most of us would like to identify with Ben, but in a situation like this, who knows who we would actually resemble?

And, in a broader study of life, guess what? It doesn’t matter who or what they (or we) are or what happens; different roads are taken, but it all has the same eventual outcome. Man this movie is brilliant.

Night of the Living Dead is the first in Romero’s Dead film series. While the social commentary, and number of zombies, increased in following entries, this original film is the only one I concern myself with nowadays. I didn’t like the way things were heading in 1985’s Day of the Dead, and after reading accounts of the following entries, well, I really had no desire to see any of them.

Even 1978’s Dawn of the Dead, the first sequel to Night, while there was a point when I considered it my favorite of the series, as I grew older I gravitated back to this original. I know that’s probably anathema to admit, and yes, Dawn is technically a better film, with stronger social commentary, a higher budget, etc. BUT, Night, I just find it so much more effective. I like the comparatively subtle social commentary, but more importantly, the claustrophobic black & white nature of the film, it still grips me in a way no other horror movie can.

And as far as the Dead series as a whole goes, Night seems the purest; no trained, and from how I understand it, eventually intelligent, zombies – a germ of an idea that really turned me off Day upon my first viewing so many years ago. Nope, the creatures in Night are just relentlessly after your flesh; that’s it! Do you really need more of a driving factor than the prospect of your skin bein’ munched on?!

And what’s more, the tone of the following Dead films, I don’t like the increasingly bleak direction they took. Again, probably anathema to admit, I know. But, the idea of the entire world being overrun, a zombie apocalypse, I don’t know, it just doesn’t do it for me. Oddly enough, despite the shocking downer conclusion of Night, there’s still a small glimmer of hope on display: Maybe things can still be contained, maybe this really was just a night of the living dead? I find the uncertain prospects at the end of the film far more appealing than knowing that “y’all is doomed.”

I guess what I’m getting at is that I prefer to view Night of the Living Dead as a standalone film and not as part of a wider series. I know many will disagree with me, and that’s fine; it’s strictly a personal choice on my part, and I’m well aware that I’m probably in the minority.

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One more thing about Night

Chilly Billy! Yep, there’s an added element of horror hosting history on display in Night of the Living Dead: Bill Cardille, popularly known as “Chilly Billy,” hosted Chiller Theatre in Pittsburgh (where this film was, uh, filmed) for years. Here, he plays a news reporter, keeping viewers abreast of the crisis in the world at large.

Cardille passed away in July, and while I myself never had much experience with him beyond this movie, it’s clear that he meant a lot to his local viewers. So, here’s my small, belated tribute to one of the icons of horror hosting. R.I.P., Chilly Billy. If there’s one way to live on, being in Night of the Living Dead, of all films, is it!

(Fun Fact: Cardille’s daughter Lori was the star of the second sequel to this movie, 1985’s Day of the Dead!)

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And that brings us back to Grampa, the element that takes this VHS tape of Night of the Living Dead from “great movie, interesting release” to “I love this I love this I love this so so so muchhhhh.” The movie is pretty untouchable no matter how you see it, but when it has horror hosted bookends, it’s all just so much more fun. Especially when they’re courtesy of Al Lewis.

Because the segments for this series were all the same, with only the voiceover in the intro supposed to have been changing, much of what Grampa says isn’t tied to any particular film (for obvious reasons), and what is movie-related is just generic oohing and ahhing.

For example, the first thing he says upon returning from the movie is “That was so scary, it scared the blood right back into my veins! What a feeling!” Not an unusual thing to say given the circumstances, and in the case of Night of the Living Dead, it works. Thing is, a good deal of the (prospective) movies in this series, they were more silly or cheesy than they were scary, which makes the line either pretty appropriate or wildly ironic, depending on the film.

I’m not really going anywhere with this line of thought, I just wanted a kinda sorta decent transition to this next part…

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No one is quite sure how many titles were actually released as part of this Grampa Presents line. We have a list of titles that were supposedly available, via a scrolling list in the outro segment (above), but only a portion of those have been confirmed to actually exist. It doesn’t help that ones known to exist with the Grampa-branded cover don’t necessarily have Grampa on the tape, and ones that have ‘normal’ covers can sometimes have the surprise host segments. And, as we’ve seen today, there were re-releases of older, 1985 Amvest tapes that left the covers the same, but updated the tape itself to fit the series. And they ALL share the same catalog numbers, which just makes things more confusing. It’s an interesting, though often maddening, mish-mash of releases, and every time I think I’ve got a handle on things, something comes along that makes me question everything all over again.

Before I got this tape, I had basically come to the conclusion that the older ’85 titles were added to pad out the number of supposed Grampa Presents entries during the outro scroll, but I held doubts that they were ever updated to correspond to the 1988 series beyond that. I had obtained enough of the ’85 titles to where I thought I was safe in making that educated (ha!) guess. Needless to say, my finding of this Night of the Living Dead shatters that theory and leaves things pretty much wide open now.

So, my new rule of thumb is “If it’s on this list, and it’s available, give it a shot, because you never know until you play it.” That’s the best and only conclusion I can come to. I strongly suspect Amvest released all of these movies on VHS at some point, and for all I know, there’s corresponding Grampa versions for each and every one.

Here now is that complete list of potentially available titles as given during the outro segment…

(* = Indicates that I personally own a copy of that title, and thus I know for sure it was released by Amvest in some form at some point. [Confirmed] = Indicates this title was indeed released as part of the Grampa Presents series, either with him on the tape itself, on the packaging, or both. If Al Lewis is present in or on the tape in any way, I’m considering it officially released as part of the series. My confirmation is based on what I personally own, what I myself have seen sold online, these two pages over at The VCR From Heck, this page over at VHSCollector, and the Mike’s VHS Collection page over at Cinemassacre. Reputable sources all! And yes, I will continuously update this list as I progressively confirm and/or acquire more titles.)

1. VV-430 – Night Of The Living Dead [Confirmed]*
2. VV-432 – The Little Shop Of Horrors*
3. VV-439 – The Terror [Confirmed]*
4. VV-442 – The Devil Bat [Confirmed]*
5. VV-443 – Horror Hotel [Confirmed]
6. VV-446 – The Ape Man*
7. VV-458 – Frankenstein’s Daughter*
8. VV-471 – Godzilla Vs. Megalon*
9. VV-476 – White Zombie*
10. VV-501 – Ghosts On The Loose [Confirmed]
11. VV-515 – The House Of Exorcism [Confirmed]
12. VV-516 – The Incredible Two-Headed Transplant [Confirmed]*
13. VV-517 – Spider Baby [Confirmed]
14. VV-518 – Spooks Run Wild [Confirmed]*
15. VV-519 – The Indestructible Man
16. VV-520 – The Corpse Vanishes [Confirmed]*
17. VV-521 – Phantom From Space [Confirmed]*
18. VV-522 – Who Killed Doc Robin?
19. VV-523 – Killers From Space [Confirmed]*
20. VV-524 – The Human Monster [Confirmed]*
21. VV-525 – Scared To Death [Confirmed]*
22. VV-526 – The Vampire Bat
23. VV-527 – Death Race 2000*
24. VV-528 – The Phantom Of The Opera (1925)
25. VV-529 – Invisible Ghost [Confirmed]
26. VV-530 – Bride Of The Gorilla [Confirmed]
27. VV-531 – Carnival Of Souls [Confirmed]*
28. VV-532 – Witch’s Curse [Confirmed]*
29. VV-533 – Snow Creature [Confirmed]
30. VV-534 – Battle Of The Worlds*
31. VV-535 – Dementia 13 [Confirmed]*
32. VV-536 – Alice, Sweet Alice [Confirmed]
33. VV-537 – Vampyr
34. VV-538 – Radar Men From The Moon (Part 1)
35. VV-539 – Radar Men From The Moon (Part 2)
36. VV-540 – The Death Kiss [Confirmed]*
37. VV-541 – Nosferatu [Confirmed]*
38. VV-542 – Yog, Monster From Space [Confirmed]
39. VV-543 – First Spaceship On Venus [Confirmed]*
40. VV-544 – The Crawling Eye [Confirmed]*
41. VV-545 – Giant From The Unknown [Confirmed]*
42. VV-546 – Immediate Disaster
43. VV-547 – The Last Woman On Earth [Confirmed]*
44. VV-548 – The Living Head [Confirmed]*
45. VV-549 – Mesa Of Lost Women [Confirmed]
46. VV-550 – Missile To The Moon [Confirmed]*
47. VV-551 – Monster From Green Hell [Confirmed]*
48. VV-552 – Nightmare Castle
49. VV-553 – The Robot Vs. The Aztec Mummy
50. VV-554 – Mars Attacks The World*
51. VV-555 – Satan’s Satellites
52. VV-556 – The Island Monster
53. VV-557 – Wild Women Of Wongo
54. VV-558 – Wrestling Women Vs. The Aztec Mummy
55. VV-559 – Dr. Jekyll & Mr. Hyde (Michael Rennie) [Confirmed]
56. VV-560 – She Demons [Confirmed]*
57. VV-561 – Creature From The Haunted Sea [Confirmed]
58. VV-562 – The Ape [Confirmed]*
59. VV-563 – The Phantom Creeps [Confirmed]

In addition to those 59 titles, there were also four special compilations hosted by Grampa: Two movie trailer collections, and two horror-themed cartoon collections. These four listings were not included in the scroll at the end of these Grampa Presents tapes, and technically probably aren’t officially considered part of the series. Still, they’re Amvest, and they’re Grampa, so for the sake of completion, I’m including them here. It should be noted that the two movie trailer tapes are probably the easiest Amvest Grampa tapes to find. It seems used copies are almost always readily available on eBay and Amazon, especially the Grampa’s Monster Movies compilation.

60. VS-005 – Grampa’s Silly Scaries – Vintage Horror-Themed Cartoons [Confirmed]
61. VS-006 – Grampa’s Monster Movies – Vintage Horror Movie Trailers [Confirmed]*
62. VS-009 – Grampa’s Sci-Fi Hits – Vintage Science Fiction Movie Trailers [Confirmed]*
63. VS-010 – More Silly Scaries – Vintage Horror-Themed Cartoons [Confirmed]

It’s important to note that in 2004, Passport Video (who somehow share a connection to the Amvest of old) released DVDs of the horror trailers and cartoon sets. I don’t own either (yet), but from how I understand it, they were straight conversions of the old Amvest tapes, barring maybe one or two alterations. The VCR From Heck has more info on these DVDs.

It’s wild to think that Lewis was still alive when those DVDs were released; hopefully he got a few extra bucks thanks to them.

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It’s a trip listening to Lewis as the list scrolls. Mostly, he makes generic comments such as “I remember that one!” until he decides it’s time to yell at Igor some more for his apparently bad eating habits. It’s doesn’t make much sense, but it’s better than a dry, silent scroll if nothing else.

The end of the scroll promises “more to come.” This list of 59 titles is the only real resource we have of the Grampa Presents releases, and as previously stated, whether all of those were even put out with Lewis-involvement of some sort is in question.

Still, that statement of “more to come” is thought-provoking. Is it possible that Amvest later released some additional titles with Lewis’ host segments grafted on? As we’ve seen, they wouldn’t have even necessarily included the appropriate hoopla on the VHS sleeve; you never know for sure until the tape is played.

Of course, I have no knowledge whatsoever of further “surprise” titles in the series; everything I have or have seen has corresponded exactly with this list. Frankly, I suspect the promise of later releases to have been little more than hype, hype that eventually went unfulfilled. Still, one has to wonder…

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After the scroll, information is given to order direct from Amvest if a desired title couldn’t be found in stores. And, my guess is, a good many couldn’t.

$12.95 total may sound like a lot for a VHS tape now, but back in 1988, that was most definitely a budget price. Remember, official, big-time movie releases on the format then were over $20 (sometimes way over). But $13? That’s totally doable. And, I wouldn’t be surprised to learn that actual in-store copies were even cheaper, especially when establishments were trying to clear out the old stock to make room for the new. Honestly, I can see these running $5-$10 easily in those instances. Now granted, the quality of the tapes often left a lot to be desired, but hey, that’s where the old adage “you get what you pay for” came in.

Anyway, on the off chance you did come across these tapes at a brick-and-mortar video store, you were supposed to look for the “Casket of Horrors” display, which housed all of them in once concise section for your perusal. I have no idea how many of, or even if, these displays were produced; the tapes themselves seemed to have barely gotten around, after all. But, there’s no doubt that the display is painfully, ridiculously, undeniably cool. Do you have any idea how badly I’d flip if I could get one of these stand-ups for my collection? Pretty badly! We’re talking an “only technically an adult” level of excitement here.

I’m trying to decipher what tapes are on display in this scene. Given the less-than-pristine quality of this tape, it’s not an easy task. Third from the left I’m almost positive is a copy of this Night of the Living Dead, and second from the right I’m pretty sure is Godzilla Vs. Megalon. The rest, I have no idea. Despite Grampa’s assurances each tape would feature his face on the cover, these all appear to be 1985 releases, and who knows if they were all actually altered to feature Grampa on the actual video; Night obviously did (at some point), but my Amvest Megalon? Despite showing some signs of potentially being an ’88 reissue, it was not Grampa-ized (much to my understandable chagrin). So again, there’s just no way to tell without having a tape in-hand and playing it.

If one did decide to order direct from Amvest, Grampa gives the standard address, New Jersey residents (where Amvest was based) had to add 6% sales tax, and so on and so on. But, he also states that when ordering, please allow 4 to 6 weeks for delivery “because in your neighborhood, the bats don’t fly that fast!” Yes, Grampa suggests your tape would be delivered by a bat. How can you not love the guy when he does things like that?

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Grampa’s final pitch before the sensory assault that was (is) this tape finishes? “So listen to Grampa and don’t dig your own grave! Go out and buy Amvest Video!” That’s pretty fantastic. And what if you don’t buy Amvest? Grampa proceeds to vaguely threaten what will happen if you don’t: “One night, it’s dark. You’re alone? You won’t be; I’ll be there visiting!” This statement is then followed by the classic, loud Grampa laugh that continues as the screen fades out.

Again, how can you not love the guy when he does things like that?

amvest-night-of-the-living-dead-vhs-17

One last touch: the Amvest copyright card punctuates the video, complete with an evocative score (plus some continuing Grampa laughter!) and computerized blood dripping down the screen. If somehow someone hadn’t realized they were watching something sufficiently “spooky” prior (yeah, sure, uh huh), this last image leaves no further room for doubt.


Whew! Done!

This, this tape, I just don’t think I can accurately describe how cool it is. Some may see it as a cheap, wildly obsolete relic from a bygone era in home video. Not me. I see it as an incredibly entertaining product from the earlier years of video. Yes, the quality isn’t the greatest; it’s a budget release after all. But the Al Lewis segments are fun, especially to a fan such as myself. And the movie? You just can’t touch the original Night of the Living Dead. Even when it wasn’t an ‘authoritative’ presentation, it works, because the film is just THAT good. And, despite the somewhat lacking print quality here, like I said before, it adds an extra layer of nightmarish, grindhouse feeling to the proceedings.

Back when I reviewed The Corpse Vanishes as presented via this series, I held doubts that I’d ever do such an in-depth study of one of these titles again. Obviously I didn’t hold true to that. But, I think I was justified in revisiting. You just can’t top this one. My hunt for more of these titles will continue, I’ve gone too far to stop now, but in the way of sheer Halloween coolness, this Night of the Living Dead entry won’t be topped. The game is over, and I have won.

Previously, Grampa Presents The Corpse Vanishes was my de facto favorite entry in this series. But now, I’ve got to amend that standpoint a bit: It’s now safely tied with this one. The Corpse Vanishes is still my favorite “traditional” release; cheaper packaging, the Grampa advertising all over it, etc. Nevertheless, this Night instantly shot right up there next to it. (EDIT: Now it’s a three-way tie; I’ve since discovered Grampa’s version of The Devil Bat, too!) No, Al Lewis isn’t on the sleeve, but he’s present where it really counts, and that’s more than enough to rank this tape up there not only with my favorites in the line, but also up there with the favorites of my not-inconsiderable VHS collection as a whole. That’s a big statement coming from me, but I have zero problem making it.

And with that, our big Halloween post comes to a close. I can’t think of a better choice for the blog today. Sure, in the realm of these Grampa tapes, there are other appropriate choices, too; Carnival of Souls would have sufficed nicely, had I decided to give it the spotlight. But, given my fondness for this series, my history with Night of the Living Dead, and the fact this particular release is painfully rare, this was the logical, and to me, only, topic I could see myself going with. It’s just so Halloween appropriate! I simply couldn’t have asked for better material to cover on the blog than this.

Have a great Halloween everybody!