Tag Archives: late night

A Ghoul Power Journey, 20 Years On…

APRIL 2, 2019 EDIT: It is with a heavy heart that I must report Ron “The Ghoul” Sweed passed away last night, following a massive heart attack he suffered several months ago. Let this article be an enduring tribute to the man that shaped so much of my sense of humor and outlook on life. I could never thank him enough for the many nights he kept me company, even if it was just from the television screen. RIP, Ron; your Ten Star Ghoul Power Generals will never forget you.

CAUTION: Long, drawn out personal memories forthcoming! (Also, it will probably help if you have at least some working knowledge of The Ghoul beforehand.)

The man himself, during a 1999 book signing.

July 10th marked the 20th anniversary of The Ghoul’s return to Cleveland airwaves, courtesy of our WBNX TV-55. (Yes, I’m well aware the majority of August is now over.) 20 years?! It’s almost shocking how quickly time has passed; it (figuratively) seems like only yesterday that I was writing about the 15th anniversary of the occurrence. I don’t know what troubles me more: the fact I’ve kept my silly blog going for five years now, or that I’ve let 20 years slip by without accomplishing anything of lasting importance.

Nevertheless, allow me now to do some reminiscin’ of Ron Sweed’s legendary late night horror host. The time is right, and besides, while I’ve related some of these tales before, it’ll be nice to present them again in an updated (i.e., better written) manner. Bear with me here group, this’ll be a long one…

Backstory:

Ron Sweed was a young associate of the legendary Ernie “Ghoulardi” Anderson (he of Cleveland horror hosting legend) in the 1960s, and it was by Anderson’s permission that Sweed resurrected the character in the 1970s, albeit with a change in name. Sure, with the fright wig, one-lens sunglasses, fake beard and mustache, and button-adorned lab coat, they looked the same. And yes, with declarations of “Stay Sick,” “Turn Blue” and “Ova Dey” and a similar penchant for blowing things up with firecrackers and adding various drops-in, video and audio, to the (admittedly) terrible movies he ran, they even shared some of the same traits. BUT, The Ghoul developed his own manic persona. His was wild, he was wacky, he was destructive, and his sense of humor was decidedly warped. With his declarations of “Ghoul Power!” he was hero to kids and the hip and enemy to those with supposedly “good taste.” The Ghoul was something special.

He first started hosting horror movies in Cleveland in 1971, on the independent WKBF TV-61, and through the magic of syndication also hit in other markets around the country. Indeed, he was just as big in Detroit as he was in Northeast Ohio. Thanks to viewer complaints and a station on the brink, his first run here came to an end in 1975, though he came back on 61’s successor, WCLQ, in 1982 and enjoyed a few more years in the Cleveland market. Add to that various runs outside of Ohio, and you had a host that really got around across the decades.

That was all before my time, however.

Despite having a vague knowledge of Ghoulardi, knowing of Superhost in my formative years, and having occasionally watched Big Chuck & Lil’ John prior, I was really just learning about the fine art of horror hosting in full in 1997, when I was 11 years old. It was actually a nationally broadcast show out of Minneapolis, Mystery Science Theater 3000 on the Sci-Fi Channel, that introduced me proper to the concept of bad-movie-mockin’, and which in turn led me to The Son of Ghoul Show on The CAT 29/35.

Now, the internet was around then, and we had it (ah, the days of slow, clunky, will-it-or-won’t-it-connect dial-up!), but it wasn’t nearly what it is now. As such, I was very much discovering all of this stuff for myself first-hand, as it beamed from the cathode ray tubes of our television and directly into my brain. In other words, if I didn’t see it aired, I may have had, at best, only the most passing knowledge on a given local subject. To think, there was a time when I wasn’t aware of The Ghoul!

Fast forward to the summer of 1998, when a relative passed along a newspaper clipping that she thought I might find interesting…

The Discovery:

My first glimpse, indeed my first knowledge, of The Ghoul came from an Akron Beacon Journal article covering his return to Northeast Ohio TV. This was fascinating stuff! A new (but not really) host for me to check out! As a 12 year old heavily into this sort of thing by then, this was exciting news! I was also curious; obviously I didn’t know what to expect. How could I? Like I said, this was all new to me.

The fateful newspaper article that led me to Ghoul Power…

You know, one of my favorite things in my entire horror host collection is actually that old Akron Beacon article. As you can see here, it’s yellowed a bit; that’s because it hung on the fridge for awhile. And the picture used wasn’t originally in color; I did that myself some time later prior to, obviously, having him sign it at a personal appearance somewhere (more on those later).

No, it’s not in “mint condition,” and it’s not archival quality in the slightest. I tend to be a perfectionist when it comes to collecting this stuff, but here, none of that matters. Why? Because this article and the history that goes with it, that’s all part of my personal Ghoul Power story, that’s why! Today, it proudly resides in a scrapbook I have dedicated to these sorts of things, and there it shall remain.

ANYWAY, thanks to that article I now had some background knowledge on the man, but I still didn’t know how this was going to play out. I was used to a certain way of local horror hosting, so how exactly was this going to work? It was a curious anticipation, to be sure.

A still from WBNX’s original promo spotlighting The Ghoul’s return.

In the days (weeks?) leading up to the July 10 debut, WBNX began running a promo for the return, and this was my first glimpse of The Ghoul “in action.” There he was, hopping down the street on a bouncy ball, waving at cars, all while the expected “I’m back!” type voiceover gave the pertinent details. Okay, this was different!

So Friday, July 10, 11:30 PM rolls around, and I was…well, actually, I can’t remember if I was there watching it live or if, thanks to the magic of VHS, I first checked it all out the next day. Honestly, I’m remembering it both ways, and I’m not sure which scenario is the truth and which is just my mind playing tricks on itself. And I’ve got a pretty good memory, too!

The first episode was 1993’s Ghost in the Machine, not really my kinda movie but a bit of “B” movie fare typical of WBNX’s offerings at the time. The Ghoul’s segments were a mix of old and new material, mainly his new segments introducing old ones. The following week (1983’s Up From the Depths) continued the trend.

Annnnnd that’s kinda where I dropped off. Over the following months, I’d check in occasionally, but the sad fact of the matter is I wasn’t an instant fan of The Ghoul. It was more of a progressive fandom; the more I watched, the more I appreciated. The good news is, when I finally ‘got’ it, man, I really got it!

The Fandom:

It was in the waning months of 1998 that I really started finding my Ghoul Power voice (I even went as him for my grade school’s Halloween party that year), and by early ’99, I was a young-but-dedicated “Ten Star General in the Ghoul Power Army.”

At a time when I was still very much developing my own sense of humor, The Ghoul displayed to me a “chaotic absurdity.” The destructive tendencies, firecracker-induced or otherwise, humor that was often positively non-sequitur-ish, it was all incredibly appealing to a 12/13 year old kid. (More than a few G.I. Joes met their demise in my backyard thanks to the influence of The Ghoul, by the way.) There was a warped sense of humor running throughout the entire show; even something as simple as using a toilet as a regular seat on his set was, to me, fantastic. Still is!

The man himself, staying sick and turning blue on set!

Like Ghoulardi before him, The Ghoul would often mock fellow local television personalities. News anchorwomen Denise Dufala (and her then-recent CD) and Wilma Smith were regular targets, as were Big Chuck & Lil’ John, who were running directly against The Ghoul over on WJW TV-8 at the time. It’s important to note that this was all in good fun; there was no real animosity there.

Some of my favorite moments were the simple ones, when he was merely sitting on the set, ostensibly talking about something but really just goofing around and cracking the crew up. Like Soupy Sales used to do, when The Ghoul had the crew laughing at something he said or did, it just made things all the funnier. And add an almost “familial” touch to the proceedings, too!

Indeed, one of my absolute favorite examples of this was “egg in a bottle,” from March 1999.

Some weeks prior, The Ghoul had demonstrated a trick in which an egg was sucked into a milk bottle by lighting a piece of paper and setting the egg over the opening – and it worked! Well, a few shows later, he revisited the bit, this time with the goal of not only getting the egg in the bottle, but then getting it out as well.

The problem was that nothing went correctly that second time around. The lit paper would be dropped in, and the egg would start to ‘go’ but then stall. Multiple failed attempts soon devolved into throwing the eggs around between him and the crew and lotsa ad-libbing. After several minutes of failing to achieve the first part of the goal, The Ghoul coolly stated “I don’t care if we don’t show the rest of the movie…” which caused the crew to crack up. And when the paper wouldn’t stay lit afterwards, he wondered aloud if they had any lighter fluid, which got another boisterous response.

Finally, he just pushed the egg down into the bottle and then sucked it back out with a straw, which was the purpose of the bit in the first place. It wasn’t so much the activity itself that was funny, but the interplay and goofing around between The Ghoul and his crew that summed up exactly how much fun this show could be. Even today, the whole segment is one of the funniest things I’ve ever seen.

Froggy being bombarded with some “raven residue.”

Oh, and how could I forget The Ghoul’s nemesis, Froggy! A small frog doll with a red coat and bow tie, Froggy was originally a 1940s & 1950s children show character, and who was later appropriated by The Ghoul for any number of destructive purposes. Summoned by being implored to “plunk you magic twanger, ova dey” and continuously spouting “hiya hiya hiya,” over the years Froggy was subject to being fried, chopped, blown up, immolated, thrown, kicked, stomped, and any other number of indignities The Ghoul reveled in bestowing upon him.

(There was also a full-sized Froggy, as in costumed adult, that appeared frequently on the show.)

It’s also to The Ghoul’s credit that, in the more-jaded late-90s/early-2000s, a lot of the stuff that would have raised eyebrows in the 1970s and even 1980s but would seem tame in the 1990s (especially when compared to, say, professional wrestling or whatever was airing on MTV or Comedy Central) still managed to work. Of course, the guy had been doing this sort of thing since 1971, it was probably all second-nature by that point, and The Ghoul went about it all with such a zeal that even some bits that didn’t quite work were still worth watching.

But you know, I fully realize that The Ghoul was/is a phenomenon that not everyone would get. (Same goes for Ghoulardi, Chuck & John, etc. etc. etc.) Unless you’re from Northeast Ohio or one of those areas that ‘got’ the humor (as Detroit wisely did), there’s a chance that if I were to show you an old episode right this moment, you’d watch and then say “okay…?” The declarations of “Boffo Socko,” “Zowie Scowie,” “Turn Blue,” and constant jabs at news anchorwoman Denise Dufala (“The secret word is DUFALA!”) probably would have left most outsiders scratching their heads.

That was the beauty of regional horror hosts though; their humor was aimed at a specific target audience. Someone in L.A. most likely wouldn’t get it, but they weren’t supposed to. This type of programming instilled a connection, and dare I say local pride, with the audience that, outside of nightly newscasts, seems to be a dying art form nowadays. The Ghoul excelled at it though.

And he fit so well into the vibes of late-90s Northeast Ohio, at least from the perspective of a 12/13 year old. Ernie Anderson’s passing in 1997 and The Drew Carey Show being a comedic force on a national scale, there seemed to be a renewed local interest in all of this stuff that made us, well, us. That feeling seemed to subside as the 2000s dawned and television in general went through increasingly radical changes (even Drew, for his last two seasons, was first moved to a terrible Monday night time slot and then burned off during the summers), but it was a wonderful ride while it lasted.

Over my years with The Ghoul, there were lotsa memorable moments. Beyond the surface stuff of anticipating a new old bad movie and seeing what he had in store for a given week, there are particular high points that stick out in my mind, both from back in the day and in retrospect.

When it began, The Ghoul Show had new host bits with the main maniac, but much of the focus was on the old material from the 70s and 80s. The Ghoul would come on in newly-filmed segments, and then introduce a clip from the past. I was entranced by these moments, and my early reluctance towards the show was almost-certainly due to the fact that the new stuff didn’t look like the old stuff. The material from the 1970s and 1980s, to me, it just looked like how a horror host show should look. The new Ghoul stuff (obviously) had a more modern look, with computerized titles and graphics. These graphics have aged well for the most part, but I wasn’t thinking of that at the time. Anyway, luckily, I came to my senses and realized that all Ghoul Power was good Ghoul Power. That’s why we’re here right now!

When new material took precedence, the 1970s & 1980s sketches were relegated to (usually) a single moment during the show: The Ghoul’s Vault of Golden Garbage. The Vault was a feature going back decades, and given its possibility to introduce me to old bits I wasn’t around for the first time, it quickly became one of my most-anticipated moments each week. (As the years went by, newer 1990s/2000s segments could occasionally show up in the Vault feature; that was always disappointing to me, because, hey, I was probably around for them the first time!)

The Vault, both in that early going and later when it was a separate segment, introduced me to the original usage of the “Ghoulzooka,” Chef Curdle, C. Miller, Froggy destruction, The Ghoul’s MDA telethon Jell-O jump, and other assorted bits of wackiness. I loved so much of it. But, being a Japanese giant monster movie fan, I think my favorite examples were the ones in which The Ghoul interacted with Gamera.

The Ghoul with Gamera, on two separate occasions…

Gamera movies were evidently well-known entities on The Ghoul Show in the 1970s, and The Ghoul took it upon himself to give them some extra-skewerin’ at least twice. The first known to me was the top image to your right: some fans sent in a “rocket powered” Gamera model, which The Ghoul and crew then launched across the studio. It was a very funny bit, mainly because it involved more joking around than anything, including The Ghoul losing it when Gamera’s head fell off during a demonstration of what was going to happen prior to launch.

The second occurrence known to me (but apparently happened first, given The Ghoul’s early set) was even ‘bigger’ and is what you’re seeing in the bottom-right shot: The Ghoul “interviewed” Gamera himself! Another very funny moment, mainly because The Ghoul had to tell Gamera how bad his movies were, much to Gamera’s embarrassment. The segment then ended with The Ghoul pulling Gamera around the set on a dolly, as if to mimic his flying. Simple, goofy, and irresistible. I loved (and love) stuff like that.

Ah, but probably the most memorable moment for me was a then-new one. Understandably, it was the time he opened a package I sent him on the air. I later wrote him emails that made it on, but the first was definitely the biggest and best.

The setting was July 23, 1999, the movie Bride of the Gorilla (a new one to me at the time; bonus!), and following one commercial break, I got probably the biggest thrill I ever got watching the show.

This particular life goal? ACHIEVED.

I had loaded this package up. First was what I deemed a “Parma Yo-Yo,” which was just a cut-out from a box of pierogies with a string taped to it, and which you were supposed to lamely bounce up and down. The Ghoul cracked up, seemed to get a big kick out of it (“And if it don’t do that, you got a bad one!”), but surprisingly I never saw it on the show again.

Then, there was a big “Ghoul Power” banner. I found a huge piece of paper somewhere and had decorated it with a whole bunch of phrases from the show. I think my hope was that it would make it onto the permanent set, and while The Ghoul seemed to like it too, I never saw it again, either.

BUT, the piece de resistance came at the end: I had gotten a cheap, terrible Jackie Chan movie from Best Buy’s fabled $2.99 VHS section, and despite two attempts at enjoying it, it was just too awful. So, what better way to dispose of it than by asking the main maniac to blow it up?

The Ghoul happily obliged, and in spectacular fashion.

I was positively flipping out during all of this. I was cracking up, literally jumping and down, I was so excited. (Hey, I was 13.) It, along with the time Letterman read one of my letters on the air, was probably one of my biggest “TV moments,” even if the two aren’t comparable on a viewership scale. It was, and is, certainly among my top favorites anyway.

Lotsa Time Slots:

As noted, The Ghoul debuted on Friday, July 10, 1998 at 11:30 PM, in what was a 2 1/2 hour time slot. For a good part of that first year, that was how long he ran, and let me tell you, by the time the show ended in the wee hours, it almost felt like you had finished running a marathon or something. It was like a bit that had happened at the top of the show felt like it had taken place eons ago by the time it was all over. It was pretty great.

At some point in 1999, I want to say slightly before the 1st anniversary but maybe slightly after, the time slot was shortened to a straight 2 hours (I recall the 1st anniversary special being 2 1/2 hours and thinking that it was a nice throwback). While this sort of took away the aforementioned “marathon” aspect, the truth is it didn’t hurt the program all that much at all. The Ghoul still packed a ton into those 2 hours, and you know, probably the only real difference was more editing to the movies!

The number of running gags, recurring jokes, and general momentum was a lot of fun to watch build and grow week after week, and by September 2000, the amount of things that had been built upon, expanded, and so on was not inconsiderable. But it was all about to take a serious hit.

Announced on September 15, 2000 (the movie was Karloff’s The Ape) and commencing on September 24, WBNX moved The Ghoul to Sunday nights at 12 AM (technically Monday morning). I had lived for those Friday nights, The Ghoul was such a great way to kick off the weekend, and now, it was being taken away from me! Summer and holidays were one thing, but during the school year (when you needed that dose of Ghoul Power the most!), my staying up for the show just wasn’t feasible. I had a hard enough time getting up in the morning as it was! Still, that’s why they invented VCRs. I was unhappy with the situation, but this was livable – I guess.

Until I saw that first Sunday show, anyway. The movie was 1993’s direct-to-video comedy Remote. There were no sound effects, no drop-ins, and The Ghoul’s host segments were severely scaled back. I was crushed. All that momentum, seemingly gone in one fell swoop. I still remember the day I discovered this; I had to run out to the garage for something, and I have this memory of being in there, sun streaming through the windows, and just feeling totally deflated.

An example of The Ghoul’s changing movie fare and time slot when he was moved out of Friday nights.

If you’ve read this old article (and if you haven’t, don’t bother; it sucks), you’d recall I was pretty down on the “Sunday era.” Now of course it wasn’t like it was when The Ghoul was on at 11:30 PM Fridays, but in retrospect, it wasn’t all bad. While a wider-range of movies was the norm (cheapo action flicks, comedies, dramas, more-modern horror and sci-fi, even the occasional animated fare, most of it without his famous during-movie-drop-ins), some of these actually worked pretty well on the show, especially the “B” action flicks from the likes of PM Entertainment and such. And when The Ghoul got a healthy amount of host segments throughout, it was all the better.

And, once in awhile, he’d do an “old style” show. That is, an old cheapie ‘classic’ loaded with drop-ins and plenty of Ghoul segments. Despite the lack of this happening on a regular basis, when it did occur, The Ghoul hadn’t lost a step.

It was in the midst of that Sunday night/Monday morning era that the world forever changed. I very much tend to look at many things as pre-9/11 and post-9/11, especially things (in this case, television) from the few years both immediately preceding and immediately following the travesty. It seems that pre-9/11, there was an undefinable air of innocence, I suppose, that was taken away afterwards. It was in that darkest of times that comfort was found in those aspects of our life that had become, well, almost a part of us, I guess you could say. I wish The Ghoul hadn’t been so inaccessible to me, a freshman in high school, at the time, because it was shows like his that helped bring a temporary comfort to a world gone mad.

I actually dug out one of my old Ghoul tapes recently, and it featured the episode right before 9/11, and what appeared to be the first one after. The first one was normal enough, but then the one after, where there’s the appropriate tributes and shows of solidarity during the commercials, it was and is heartbreaking. How quickly things can change.

The Ghoul on his “Breakfast Club” set.

It was in that post-9/11 world that the “Ghoul Power Good Morning Breakfast Club” experiment began. On October 8, 2001 to be exact, after the show moved to 1 AM Monday mornings the week prior. Technically a worse slot, though my circumstances didn’t really change one way or the other; I still couldn’t stay up to watch it. The movie was Street Crimes, a low budget action flick from PM Entertainment and starring Dennis Farina that was a good example of what made up a good chunk of The Ghoul’s fare during that time period. It actually worked pretty well with the show – though I suppose your viewpoint on that would largely depend on how tolerant you are of “B” action flicks in the first place.

The gag of the “Breakfast Club” was that at 1 AM, it was Cleveland’s earliest morning show, thus starting your day off right before anyone else. Filmed on a different set and with humorous looks at traffic and weather and guests sharing coffee (typically associates and characters that tended to be on anyway), it was an interesting idea that worked far better than it had any right to, but it only lasted for maybe 6-8 months; certainly by the summer of ’02, the show was back to its normal set and structure.

In September of ’02, The Ghoul was finally moved out of the Sunday/Monday hole and back to Friday nights/Saturday mornings…early Saturday mornings; it was slotted at 3:30 AM! I can’t decide if this was more or less accessible than before. On one hand, it didn’t coincide with a weekday, but man, depending on the movie, you’d be finishing up at around 5:30/6:00 AM. Look, I’m a habitual night owl, but even that goes a little too far for me.

(The final “Sunday era” broadcast was on September 2, 2002 with House on Haunted Hill; one of those “old style” Ghoul shows, loaded up with drop-ins and host segments. When he resurfaced in this new, uber-late time slot, the movie was 1996’s Yesterday’s Target.)

Sadly, and I hate to admit this, it was around that time (fall 2002) that I fell away from watching. Well, taping; the sad fact of the matter was that I kept recording for years, but rarely got around to watching the shows. Heck, I rarely got around to even checking/labeling the tapes! They just kept piling up! Teenagers do dumb things, and in hindsight, I’d have stuck with the program till the end (2003 or 2004, depending on the source), but at 16 years old, I guess you’re not that forward-thinking.

I never stopped liking The Ghoul though. Some of my happiest TV-viewin’ memories are of those Friday nights at 11:30 PM, watching him fool around against that black backdrop with the hazy border or goofing off on that junk-laden set. Indeed, I still have this very clear memory: summer of ’99, relaxing to The Ghoul on a Friday night, all alone, the window behind me open, cool breeze filling my nostrils with the scent of nearby bonfires. It was such a great feeling.

I have memories of tuning in on Sunday nights as well, but they’re not as numerous or as, erm, memorable, for obvious reasons.

I really have no idea why WBNX moved The Ghoul out of Friday nights 11:30 PM or why his movie choices were, to a large degree, altered. Was it a ratings-issue, an attempt at giving him the all-around of Big Chuck & Lil’ John, or…? I just don’t know.

The Ghoul in a local Norton Furniture ad.

A fun addendum to The Ghoul’s 1990s/2000s Cleveland revival: in the mid-00s, he appeared in a few local commercials for Norton Furniture, an establishment that specialized (specializes?) in late night advertising. Often of a surreal nature anyway, the two (I think there were only two) spots featuring The Ghoul had him chasing around store owner Marc with the intent of cutting off his ponytail for a new phony beard. (The second spot featured a cameo by Froggy, too!)

Airing around 2004/2005, these Norton Furniture ads were some of the last times, to the best of my knowledge, that The Ghoul appeared on Northeast Ohio television in a regular capacity. (And lest you think commercials shouldn’t qualify as “regular capacity,” bear in mind Norton Furniture ads were all over late night TV in these parts at the time; if you liked staying up late as I did/do, you’d almost have to be trying to not see one!)

The Movies:

Because The Ghoul was on a channel that regularly picked up movie packages (and was affiliated with the WB Network to boot), his movie choices could really run the gamut. Sure, the usual public domain cheapies from the 1930s through the 1970s showed up, as is typical of horror hosted shows, but ‘real’ movies were also part of the regular rotation. A lot of newer, “B” grade flicks popped up on the station, even outside of The Ghoul. Because I was (am) a movie fan as much as I was (am) of the show itself, it was a real trip seeing so many new-to-me flicks week after week, and the announcement of the next week’s movie was a moment of high anticipation for yours truly. The possibilities were (seemingly) endless!

Of course, you didn’t really tune into this show to see a full-fledged movie; the film was just part of the experience. Because The Ghoul would pack so much material into a show, there were times when a movie would be edited beyond comprehension, and indeed, there was so much insanity going on, the movie sometimes seemed almost like an afterthought. Make no mistake though, that was all part of the fun! For 2-2 1/2 hours, it was like you were tuned into an incredibly weird televised circus – and I mean that in the best way possible.

And naturally, one of the main draws as far as the movies were concerned were the various audio and video drop-ins. Inappropriate and/or nonsensical music, sounds effects (who could forget “OW OW OW! when someone got hurt, or the loud BURP whenever a character took a drink?), silly old film clips inserted into the film, and funny “facts” that would pop-up not unlike VH1’s then-popular Pop-Up Video, all were regularly featured throughout a given movie during the earlier years of the show.

My tastes in movies were all over the place around that time. I liked the pioneering silent films in the horror and sci-fi genres (some of them, anyway), the classics and poverty row flicks of the 1930s and 1940s, and the cheesy sci-fi of the 1950s and 1960s; that’s the stuff I ‘started’ with. By the time of The Ghoul, those tastes were expanding to also include the grindhouse and Eurotrash junk of the late-1960s, 1970s and beyond, and even though it wouldn’t peak until the mid-2000s, looking back I guess I had a slight inclination towards the slashers, too. The Ghoul covered them all, in varying degrees of visibility; only one silent I can think of (Metropolis, appropriately the first show of 2000), a healthy dose of 1940s through 1960s stuff, lots of obscure 1970s garbage, and plenty of low-rent 1980s & 1990s fare.

An example of the type of film The Ghoul would show during his stay at 11:30 PM, Fridays…

Nowadays, I pretty much like what I did in the first place: some silents, the classics and the poverty row offerings of the 1930s and 1940s, cornball 1950s/1960s sci-fi and horror, the giant monster flicks out of Japan. My interests wane considerably after Night of the Living Dead, both because NOTLD is a masterpiece and legitimate contender for greatest horror film of all-time (in other words, how y’all gon’ top it?), and more importantly because later, more ‘extreme’ horror films may have been bloodier, nastier, but they didn’t have the brains or heart behind them, barring some exceptions, such as the original Dawn of the Dead (though I still prefer Night…)

Yep, The Ghoul’s movie selections of the late-90s/early-00s were certainly wide-ranging, and I have plenty of favorites from those years. The 1930s and 1940s flicks featured (alliteration), some being staples of these types of shows, are movies I particularly enjoy. Three Bela Lugosi films come to mind: The Devil Bat, Invisible Ghost, and White Zombie. Also, Boris Karloff’s The Ape (a movie I didn’t much care for at the time but have really warmed up to in recent years) and the 1941 Monogram wartime poverty row opus King of the Zombies. 1950s cornball drive-in fare like Indestructible Man, The Screaming Skull and The Giant Gila Monster and ultra-cheap trash like 1966’s Curse of the Swamp Creature also get high marks from yours truly.

There weren’t many Japanese monster movies shown, and those were/are a favorite genre of mine. But, Attack of the Mushroom People made it on, and that was a big, big one (a far darker film than that American title implies). The 1956 Daiei opus Warning From Space (the second anniversary show movie) also stands out.

From later years, Best of the Best 3, Ring of Fire III, and Street Crimes stick out as favorite low budget action flicks; I genuinely enjoyed all three. And, my first full viewings of Deliverance, Cocoon and Poltergeist came via The Ghoul. Even with the appropriate editing-for-television, they made for great Ghoul Power features.

And when it came to Christmas, The Ghoul went all out, especially in 1999, when the entire month of December was dedicated to the holiday. 1964’s Santa Claus Conquers the Martians is my go-to “bad Christmas movie” flick, and that’s the only time I saw him run it. Also, 1935’s Scrooge, my personal favorite movie version of A Christmas Carol.

Oh, my least favorite films featured (alliteration) on the show? Of the “classics,” try as I might, I could never really get into Gorgo, which was the subject of his first anniversary show. The special effects are terrific, granted, but as a whole it’s nowhere near as fun as a comparative Japanese release. Frankly, Gorgo bores me. Also, and this may be anathema to admit, but House on Haunted Hill (which I believe The Ghoul ran at least three times over the course of his run) is a movie that has just never done much for me. I don’t actively dislike it, but I don’t really like it, either. Even when I first saw it at 12/13 years old (after much hype from family members and when I was an easy audience for this sort of movie), I was left severely neutral on the subject. If it wasn’t for Vincent Price, well…

Nowadays, I don’t like slasher movies at all, so the Leprechaun flicks (if they’re even considered slashers; I think of them in the same territory, if nothing else) are in retrospect not to my personal tastes – though I kinda liked them back then. (The Ghoul ran several entries over the course of his run.) And a lot of the newer movies that made it onto the show such as Pumpkinhead II, Hellraiser IV, Pinocchio’s Revenge, Doppelganger, Ghoulies, the 1989 Phantom of the Opera, my views on those range from severe disinterest to outright dislike. 1985’s Eternal Evil is also a terrible, terrible movie – and not in a fun, Ghoul Power way, either.

A lot of 1970s stuff hasn’t worn well for me, though I took an interest in them then. Mainly the European films; Lots of people love ’em, but I’m not one of them, not anymore. Flicks like Lady Frankenstein were/are so covered in depressive grime, forget wanting to take a shower; I feel like I should go soak in some 91% isopropyl for 17 hours after watching that one.

Also, I know he has his fans, but from a strictly personal standpoint, I just don’t get the love for Paul Naschy movies; every one I’ve seen has been essentially unwatchable. The Ghoul ran Werewolf vs. the Vampire Woman, and even he couldn’t save it! And isn’t that considered a top-tier Naschy film? *shudder*

Personal Appearances:

I had the great benefit to meet The Ghoul in person not once but several times. I can tell you, each and every time, he was absolutely phenomenal with the fans. Not only was he energetic and ‘on’ the entire time, but he really spent time with his admirers; he’d talk, he’d joke, he was everything you hope for when you meet a celebrity.

There’s yours truly with the main maniac in 1999; evidently I wasn’t always the suave hepcat I like to imagine myself to be.

My first meeting with him was in 1999, at the Chapel Hill Borders Books where he and Mike Olszewski were signing copies of The Ghoul (S)crapbook, a terrific collection of old photos, information, hate mail and general wackiness. As you’d expect of The Ghoul, basically. (While very informative, it also came off as the warped counterpart to the 1997 Ghoulardi: Inside Cleveland TV’s Wildest Ride book – again, as you’d expect of The Ghoul.)

There was quite a line to meet him that night, and while it wasn’t like I had to stand in it for 8 hours or anything, there was a bit of a wait. When I finally got to meet him, it was obvious why: The Ghoul really gave you his attention, spoke with you, all while staying in character. And you know what? The saying “you can be anything you want to be” is endlessly repeated to us in grade school, but I can tell you from experience that it means so much more when it comes from The Ghoul.

Truth be told, I can’t remember how many times I met The Ghoul. It feels like more than what I’m writing about here, but that might be my memory playing tricks on me – or maybe I really am forgetting an appearance or two. Anyway, the next one that comes to mind is his appearance at B-Ware Video in Lakewood, OH, on April 14, 2000. B-Ware was run by “Sick” Eddie and his wife, both of whom worked on The Ghoul’s show. Man, in those days before anything and everything had been issued (or reissued) on DVD, B-Ware was a haven of weird, out-of-print, obscure horror and science fiction titles on VHS, some for sale, some for rent. Seriously, the only place to get some of this stuff was eBay – and certain titles were selling for mighty dollars at the time. Even though I was only there once, B-Ware was amazing.

In addition to Mike Olszewski, there were even more of The Ghoul’s crew there at this appearance. Froggy, Jungle Bob, Jeff “The Sickie,” even Dinky, the big pink flamingo mascot of Destination, the heavy metal band who did The Ghoul’s opening music at the time (he even gave me a free CD of theirs!). Aside from The Ghoul and Olszewski, it was my first time meeting all these people, and everyone was ridiculously friendly. And The Ghoul, who as I recall it had had not one, not two, but three personal appearances that day, of which this was the third, showed no signs of running out of gas.

I’ll never forget this: he didn’t know me in the least, but when they brought the camera in to film for the show, Olszewski implored me to get up front and get on. I’ll never forget how nice that was of him, and thanks to his insistence, I showed up in the crowd when the bits aired a few weeks later during Indestructible Man (and one of them repeated during the second anniversary special that summer, as well). You don’t get to see a screenshot because I was a goofy lookin’ 14 year old (even goofier than the pic you just saw of me a bit ago), but nevertheless, it was a thrill.

Next: the grand opening of High Point Furniture in the Midway Plaza in Akron, where I met him one night, and then again the next. I could be wrong, but I think it was the fall of 2000; I’m pretty sure this was where I asked him about the whole move to Sunday nights. (His suggestion was a VCR, which, you know, what else could he say?)

[EDIT: This appearance was apparently in the fall of 1999, not 2000, which means I couldn’t have asked him about the Sunday move, as it hadn’t happened yet. I definitely did ask him about it once, and I sure *remember* it as being inside High Point, but unless it was at the appearance you’ll read about after this one, there was another time I met The Ghoul that is otherwise totally slipping my mind.]

This isn’t a pic from that grand opening; I went and snapped it specifically for this article. This Midway Plaza location still stands, but has been closed for a number of years now.

I don’t remember a whole lot about that first night, other than they had free Domino’s Pizza, pop, and a KISS tribute band in the parking lot. I sure remember the second night though, when I went back. (This wasn’t exactly a four hour round trip; Midway Plaza was pretty close by.)

I had a box of stuff for the show that would have been prohibitively expensive to ship (and I had even less money then than I do now), so I brought it all direct to The Ghoul. It really was a bunch of junk, I don’t think any of it made on the show (I wouldn’t blame him if none of it made it beyond the dumpster that night!), although methinks the replica of Rodin’s “The Thinker” mocked up to sorta look like The Ghoul was at least semi-clever.

I wasn’t expecting him to open the box there, but he did, and when he was done sifting through it, he stood up and presented me to the sizable line of people waiting to meet him. Right then and there, he declared me to the crowd as a Ten Star General in the Ghoul Power Army – and they cheered for me! It was an incredible surprise, and to me it sums up just how fantastic The Ghoul was with his fans. He didn’t have to go that extra mile, but he did, and I will always be grateful for it.

The Ghoul promoting Frightvision 2001 on his show.

Finally, there was Frightvision 2001. Now, truth be told, I don’t know if I met him there, I don’t recall doing so, but having been to the previous two Frightvision conventions held in Akron, it was still pretty cool when The Ghoul was announced as host of the third (in Cleveland). Frightvision was my first horror & sci-fi convention in 1999, and by 2001 I had long realized what a bastion of collectibles it was. If I didn’t take advantage of the numerous celebrities in attendance that year (and I didn’t; I don’t think I met any of them at the show), it’s only because I was so focused on netting me some cool winnins from the dealers there.

Speaking of cool winnins…

Memorabilia:

I’m a collector of pop culture, especially as it pertains to broadcasting, television broadcasting specifically. Mugs, glasses, shirts, keychains, assorted promotional memorabilia related to this sort of thing, I’m almost always interested in that – especially when it hails from the 1960s through the 1980s.

While I take an interest in television in general, local broadcasting is a facet that really perks up my ears. I don’t necessarily mean local to me; local TV from across the U.S. is something I find endlessly fascinating. BUT it goes without saying that the area of my greatest interest lies in Northeast Ohio’s television history. And since I’m a big fan of horror movie hosts, that’s the sort of memorabilia I’m always, always after.

That was my long-winded way of saying I’ve amassed a sizable Ghoul collection over the years, both first-hand and online. T-shirts, autographed photos promo flyers, articles, assorted things like that are littered throughout my collection. Here now are just a few of the items that help keep the Ghoul Power burnin’.

Endlessly pushed on the show for much (all?) of his WBNX run, Turn Blue Ghoul Brew was The Ghoul’s very own beverage, and it really turned you blue! Well, your tongue anyway. I got this bottle during the Borders Book appearance, and since he signed it to me, I never had the heart to open and drink it. I did try the stuff though; it was basically blue root beer. Non-alcoholic and pretty tasty, I wish they still made it. They later came out with “Froggy Squeezins,” a green lemon-lime drink. Besides personal appearances, you could only get these at select locations in Northeast Ohio.

Luckily, one of those locations was mere minutes away from me: DeVitis & Sons Italian Market. In fact, during our 8th grade fundraiser for a trip to Washington DC, one of my grade school’s stops was the Acme that was next to DeVitis at the time (it’s a Save-a-Lot now). Ostensibly we were supposed to be selling hots dogs and hamburgers, but I don’t remember really having all that much to do. At one point, I broke away to DeVitis, where I purchased my first bottle of Froggy Squeezins. It was pretty good, but I unfortunately never got another, and I stupidly didn’t keep the bottle. Mistake! I didn’t really like that trip to Washington, but at least I got a bottle of Froggy Squeezins out of the deal.

Turn Blue Ghoul Brew’s bottle went through a couple label variations. Originally it had a simpler label and was in a brown bottle (it looked like a beer), which was then switched to the variant you’re seeing here. (They occasionally sold old “brown bottle” variants, as collectors items, at personal appearances; I’m this sure I got one at Frightvision 2001, but if I did, I can’t find it. EDIT: Of course I found it after this article had been published!) The third label variant (that I know of) switched up the font and added a hypnotic swirl behind the Ghoul caricature.

I really wish they still made this stuff.

Hey, remember how I told you I loved the Vault of Golden Garbage segment on the show? Well, in the late-1990s, The Ghoul released a VHS tape that was nothing but the Vault of Golden Garbage! I had to have it, and as you can see, I did.

I haven’t watched this since probably 2000 and I can’t remember if it was all 1970s material or a mix of 1970s and 1980s, but I do remember it as being terrific. My only complaint? I don’t recall there being any Froggy skits included! I guess I could play it, but knowing my luck, that would be the exact moment my VCR decides to start eating tapes, despite having never shown an inclination for such things prior.

As you can see, I got this signed by the man himself at a personal appearance somewhere. I don’t remember which one, but I’m positive it wasn’t Borders or Frightvision. It might have been B-Ware Video, I know had some stuff with me to get signed, but I’m guessing this was the first night at High Point Furniture. (I take solace in the fact none of this really matters to anyone but me.)

Hey, dig this: an original program and wristband for Frightvision 2001! Yes, as proof that I always saved everything pertaining to this sort of thing (except that Froggy Squeezins bottle apparently), I still have the wristband from this show. Call it hoarder-ish if you like, but since there’s a real possibility that the number of people who still own these number in the single digits and I’m one of them, that means I win. Right?

I’m not going to go through it page-by-page, I don’t think anyone that has stayed with me this whole time (yeah, sure) will care, but I will say they had a pretty great line-up of guests that year. I wish I had taken advantage of that, but I didn’t, and now I have to live with it.

“Hiya gang! Hiya hiya hiya!”

This little (4 or 5 inches in height) Froggy doll isn’t an official Ghoul product, but rather something hailing from 1948! A whopping 70 years old! Yes, this is an original Froggy, made of rubber and fittingly manufactured in (where else?) Akron. Rempel put these out in conjunction with Smilin’ Ed McConnell’s Buster Brown Show, which is what Froggy is originally from. There were two versions of this doll that I know of: this smaller one, and a larger 9″ model. Both were made of rubber and squeaked when you squeezed them, though the squeaky feature of mine is long gone. Not that I really care about that; I just want my own Froggy to plunk his magic twanger whenever I come calling.

My brother actually bought this for himself years ago, and knowing what a Ghoul fan I am, gave it to me for Christmas sometime later. In the years since he first purchased it (it wasn’t cheap, but it wasn’t unreasonable either), these things have really gone up in price, especially if they still squeak and are in decent shape. And if you’ve got the original box, the pricey meal is on you tonight! The larger 9″ one is my new personal chaser; I could pathetically reenact Ghoul skits all by my lonesome with it if I so desired! (Minus the destruction, of course; these guys cost too much!)

This item is something I myself found in an antique store several years ago. They had gotten a load of old magazines, newspapers, and the like. Man, I cleaned up. Music mags with Springsteen on the cover, M*A*S*H final episode tributes, and the big find, this: a 1983 Scene Magazine featuring The Ghoul! This was one of those cases where you find something, and you’re so excited that you immediately become overly-protective of it, as if someone is gonna take it away from you. At least, I tend to get that way. (Is it just me?)

Oddly enough, I still haven’t read the Ghoul article in it; I’ve spent all my time finding a safe, flat place for the issue, with an eye towards getting it framed at some point in the future. Plus, with old newsprint, especially large-sized as in this case, I like to handle with the figurative kid gloves.

I have old promo cards from the WKBF days, but this artifact that popped up on eBay about two years ago is interesting enough to share here. I’ve never seen one before or since, so I had to snap it up. According to the seller, this flyer hails from the Halloween season and the gimmick was for kids to pin them to their costumes while trick-or-treating so they’d be more visible in the dark. Not a bad idea, and since it was The Ghoul, you know, it just fit with the season!

And dig that: “Courtesy of Clarkins.” Talk about a blast from Northeast Ohio’s past! I have no idea what year this flyer is from or how many times The Ghoul appeared at Clarkins (that or any other location), but the WKBF-TV notation is obvious proof it hails from somewhere in the 1970s.

And finally, a small piece of memorabilia, but one that gets more ‘use’ than anything else I’ve just shown you: a 35th anniversary Ghoul keychain, which proudly hangs with my keys. (As you’d expect of a, uh, keychain.) It’s about the size of a quarter, maybe a little larger, and man is it snazzy! (Of course, I have two of them; this one, and one still sealed brand new in its cute lil’ baggie.)

My pic makes it a little hard to see, but these were released in 2006, in conjunction with The Ghoul’s (say it with me) 35th anniversary. He was unfortunately no longer on local airwaves by that point, but nevertheless, he certainly came out with a boffo socko keepsake!

Looking Back:

The Ghoul really exemplified what I like to call “Cleveland Style Horror Hosting.” Sure, there was a general ‘spooky’ look and feel to the proceedings, but unlike many other hosts nationwide who tried to play into the vibes of their look and/or movies they were presenting, here it was all just a vehicle for wacky comedy. Not that comedy was anything new to horror hosting, it goes back to its earliest days, but just like there was a style of Polka music commonly deemed “Cleveland Style” (yes there was), around these parts there was a specific set of ingredients. Yes, there were the sets and the films presented, but underneath it all was a cacophony of (innocent) ethnic jokes, wild behavior and homemade lingo that gave our guys a specific “flavor.”

Sure, that can be leveled at other hosts outside of Ohio, but you know what? We’ve had such a preponderance of them, going back to the revolutionary Ghoulardi, that I’m calling it our own. Your mileage may vary, naturally.

Even though he’s out of Chicago, Rich Koz’s Svengoolie actually does a good job of presenting to a nationwide audience what I’m talking about. Sure, he has the look and movies down (better movies than anyone else, in fact), but comedy is the ultimate goal. It makes sense though; there’s a very real Ghoulardi/Cleveland connection with Sven. The original Svengoolie, Jerry G. Bishop, was a Cleveland disc jockey when Ghoualrdi ruled the town, and when Bishop started Svengoolie in Chicago in the early-1970s, the influence was apparent. He wasn’t a beatnik vampire, he was a hippie vampire. Instead of “Parma,” it was “Berwyn.” And so on and so forth. (I don’t mean to claim Bishop was a copy or rip-off of Ghoulardi in the least, just that Ghoulardi’s influence reached wider than the Northeast Ohio area.)

In fact, while I don’t find much of the current Svengoolie’s humor to my personal tastes, I appreciate that he keeps these ideals in play. Underneath that horrific exterior is a mostly-comedic interior. Also, the fact he keeps things relatively-light (whereas many current internet hosts go for an ‘extreme’ look and feel) recalls the “classic era” of horror hosting, of which he hails from anyway, and that I certainly like.

Anyway, The Ghoul, perhaps more than any other save for Ghoulardi, was a “Cleveland Style” host. At first glance, you’ve got this guy in an appropriately ghoulish get-up, but then you start really watching; he’s wild, he’s wacky, he’s got his own language, his own madcap style, and you realize there’s so much more to him than a “mere horror host.”

I would have loved to have grown up with him in the 1970s and 1980s, when his style of humor wasn’t only hip and dare I say subversive, but also capable of eliciting complaints from certain viewers in that more-staunch time period. When I began watching in the 1990s, no one was going to pitch a fit over blowing up a model car with a firecracker or making a gigantic mess of food as Chef Curdle.

What he instead attained was a level of, as I like to call it, “comforting mania.” It was a welcome respite from the real world, from school life, from more conventional comedy. Tuning in each week was a carnival of fireworks, wacky catchphrases, and terrible movies, and it was irresistible.

I couldn’t be there beforehand, but I’m appreciative of the years I did spend with The Ghoul. He mangled my medulla on a regular basis, and as a Ten Star General in the Ghoul Power Army, I’m grateful for that.

Now if you’ll excuse me, I’ve got some glass to scratch and walls to climb…

Episode Recap: The Ghoul Show’s “House on Haunted Hill” (September 2, 2002)

I should probably wait till the 15th anniversary on September 2, 2017 to post this article, but I don’t care.

I’ve mentioned before how I avidly stayed up and watched (and taped!) The Ghoul on WBNX TV-55 every Friday night – in the late-1990s and most of 2000, anyway. I’ve also mentioned how when WBNX moved him to Sunday nights (technically Monday mornings; 12 AM time slot) in the fall of 2000, I kept taping, but still being in grade school, staying up to watch was no longer feasible. He was eventually pushed back to 1 AM, though my situation remained the same. I kept taping (and taping…and taping…) the show, but because of all the other duties and interests of a teenager, I could never get around to picking and choosing which to keep, or even watch, like I could when it was on Fridays. The end result? I eventually wound up with boxes of tapes, either unmarked or with a vague “The Ghoul” scrawled on them.

On one hand, my dereliction of duty was understandable. You see, the wind had been taken completely out of my sails; when it moved, the show was (mostly) gutted of all the momentum it had built since debuting in the summer of 1998. For the most part, host segments were cut back, drop-ins were, uh, dropped from many of the movies, which in turn was a side-effect of the cheesy old horror and sci-fi flicks being limited in favor of newer fare, a good portion of which wasn’t from the genres The Ghoul was known for. And even when they were, they were newer, bigger-budgeted, ‘real’ movies. I wrote about one such episode here, and took a closer look at the history of the show as a whole here.

Despite that, around 2011, I made a concerted effort to dig out and duly mark each of these tapes – finally. Besides the mental well-being of knowing what I had recorded years prior, this also served the purpose of essentially giving me ‘new’ episodes of The Ghoul. And luckily, as of late I had been itching for some new-to-me Ghoul. Not some Ghoul that I had watched and merely forgotten about (though I’ve got plenty of those too), but a new episode – or as close to a new episode as I could get nowadays, anyway. And that’s where today’s post comes in.

This doesn’t come from that 2011 notating project. Oh no, this was an unknown-to-me (well, utterly-forgotten-to-me) recording I rediscovered only some months ago. Just when I think I’ve found ’em all, a new one pops up! Buried at the end of an 8-hour tape that was properly marked otherwise comes The Ghoul’s airing of 1959’s House on Haunted Hill, and it definitely hit every point I had been hoping to write about. Despite the Sunday night/Monday morning slot (this originally aired at 1 AM!), this was one of those rare-for-the-time “old style” shows; that is, for all intents and purposes it’s like the Friday night broadcasts I hold such fond memories of. An old, ostensibly-classic (more on that in a bit) horror movie, complete with audio and video drop-ins, and loaded with plenty of Ghoul segments – I couldn’t have asked for a better rediscovery!

And as it turned out, regarding that less-than-stellar time slot, this broadcast holds an additional historical aspect, one I am fortunate to have captured: As The Ghoul himself pointed out above in the intro, this was the last show in which he was scheduled at that time! Yep, starting the following week (or actually, later that same week), The Ghoul Show was back on Fridays! Now, this wasn’t a return to the late-1990s glory days of the show, mind you; it was scheduled at 3:30 AM (!), which means technically it became a Saturday morning program. Also, the show itself really didn’t change; I’ve got that first back-to-Friday show, and aside from an all-new open (which means the “In Mono…” intro I used above as my header, and which I really really like, was evidently last seen here), it was still more-or-less what it had been since the fall of 2000.

Still, The Ghoul seems fairly happy with the move whenever it’s mentioned throughout this episode, and I guess I concur; while 3:30 AM wasn’t exactly ideal (it wouldn’t end until 5:30-6:00 AM!), staying up mega-late on a Friday night was (is) more doable than staying up late on a Sunday night, I suppose. Trade-offs and all that. Then again, I’m by nature a night owl, so my mileage may vary from yours.

But, the time change was not the only news permeating this episode; nope, this was also a Labor Day show! It was Labor Day weekend, which means this was actually airing on Labor Day!

Maybe I really should have waited until the appropriate time to post this? Meh, that’s months away, and my negligible creative juices are flowing right now.

Anyway, because it’s Labor Day, the apparent official food of Labor Day, a watermelon, is blown up in celebration. In the best tradition of the show, it’s a wildly satisfying explosion, and doubly-so for me since I’m apparently the only person in the universe who doesn’t like watermelon.

On a side note, I really like the darker, more-shadowy look of these host segments. Granted, it’s the same set it always was, but it seems much-more shrouded in darkness; looks more Ghoulish, even if The Ghoul himself was always more about comedy than presenting said Ghoulish image. Or something like that. Look, I just like it, okay?

(And no, I don’t think they appear darker because of my reception at the time; as you may be able to tell from the somewhat fuzzy screencaps that a rabbit ear antenna was employed. Actually, this broadcast and subsequent recording look significantly better than what I often got out of 55 around then.)

We’ll get to the rest of the festivities momentarily, but first, 1959’s House on Haunted Hill.

In the realm of public domain horror and sci-fi films, this is one of the biggies. It’s not as ubiquitous as, say, Night of the Living Dead, and it’s certainly not as esteemed either, but nevertheless, House on Haunted Hill is a veritable staple of horror hosted programs such as this.

And why wouldn’t it be? It’s 1950s black and white horror, which is cool by its very nature. It’s a film by William Castle, who specialized in real-life theatrical gimmicks (this time, a plastic skeleton apparently floated throughout the theater while the film played on), and that’s always cool. It’s got a cool title and a cool setting, which makes it look and sound like Halloween personified. And it stars Vincent Price, who was (is) the very definition of cool. Sounds like a can’t miss to me!

And yet, even though this is probably anathema to admit, I’ve never much cared for House on Haunted Hill. Indeed, way back in the late-1990s, an aunt sent a VHS copy to my brother and I, which prompted fond recollections from mom on what a fun flick it was. But upon playback, my reaction was one of severe indifference. And keep in mind, I was around 12-years-old, and therefore what should have been an easy audience for this kind of thing. I just don’t think it’s a very good movie. Even a recent viewing of the Rifftrax Live DVD take on it did little to change my opinion. Vincent Prince (along with Ice Pick from Magnum, P.I.) makes it watchable, but that’s really the best I can say about it.

Though to be frank, I do feel it works better here on The Ghoul than usual. You see, this was a less-than 2 hour episode (1 hour 53 minutes; the rest of the slot was filled out with WBNX featurettes, which were just pop music videos from the period), and it was absolutely saturated with Ghoul segments, which means there wasn’t a whole lot of time left for the movie. As such, there’s the initial set-up, some inter-movie bits, and then the conclusion. In other words, the meat of the movie was all that was left, and as such I found it much more tolerable. (There was an earlier showing of this movie on The Ghoul, from 2000, and I still have that broadcast as well, but personally I find that airing as a whole much less interesting, which is why we’re looking at what we are today.)

Still, even if the movie isn’t exactly one of my favorites, it’s still vintage horror, and it lends itself well to an older-style Ghoul episode, so it all personally ends up working anyway.

The plot? C’mon, you’ve seen this one!

Quick rundown: Vincent Price (above, with what was assuredly the basis for the theatrical gimmick – “Gee, ya think?!”) plays a millionaire playboy, who rents an old mansion from a panicky-guy (Elisha Cook, the aforementioned Ice Pick), and offers a $10,000 cash prize to him and four others if they can stay in the mansion overnight. Also, the mansion is supposedly haunted. Also, the party is being thrown at the request of Price’s wife, a marriage that is shown to be severely strained early on. You can almost figure where this is going from that description alone, can’t you?

Look, the movie is public domain. Everybody has released it. Everybody has aired it. You haven’t seen it? There isn’t much legwork needed to change that!

I don’t have any one definitive reason why I’m not big on House on Haunted Hill. It does a lot of things right, and by all means I should love it. But, there’s something about it that just leaves me cold. It’s not the fairly obvious plot, or the acting, or anything I can actually point to and say “thas why!” It just doesn’t do it for me. Though like I said, I dug this truncated print more than I expected to.

(There were drop-ins for the movie this episode, but most of them were in the form of audio; belches when people drink and so on, though there were funny images of junker cars crashing and whatnot interspersed into the pre-opening-titles sequence of the movie.)

Yeah, I’m not a big fan of House on Haunted Hill, but that doesn’t keep this episode from being a winner. It’s all about the whole, man.

The first skit proper is seen above, though you’d be forgiven for not knowing quite what you’re looking at; hey, everyone was moving around and it was dark. This screencap was about as good as it was going to get! Simply put, The Ghoul and his (I presume) crew raucously dance around for a few minutes. It makes absolutely no sense and that’s why it’s perfect.

You see, you (or at least I) didn’t tune into The Ghoul for just the movie. I mean, sure, yeah, the movie was a big part of it, but again, it was all about the whole. The flicks were often chopped up beyond comprehension (House on Haunted Hill fared better than many), and it seemingly had less to do with editing-for-content and more to do with jamming as many Ghoul segments as possible in. It was about the overall wild, wacky late night experience, and by and large that faded when he moved to Sundays. That’s why I was so disappointed with that previously-linked Poltergeist episode and so pleasantly surprised with this one; this really does feel like a brand new episode to me, which, if I ignore the dated references and commercials, it basically is.

The Ghoul was good at often presenting pretty random bits, and that’s why this real non-sequitur of a segment fits in so well; it absolutely encapsulates the vibes of the program.

Look how nifty this is!

The Ghoul mentions this (well, these) are by “Blues Airmen,” which I assume is this Detroit-based guitar center; makes sense, since The Ghoul was and still is huge in Detroit. But then again, there are bands, or at least a band, by that name, so I don’t know.

Anyway, dig this: They actually created not one but two Ghoul-themed guitars…made from very real toilet seats! The initial model is on the left, and you have no idea how much I love the fact it houses a roll of toilet paper. BUT, for this episode, The Ghoul debuted their newest creation: A new, super-deluxe model, complete with a built-in amp! That’s awesome. Even though he himself admits he can’t sing or play (more on that later), he still spends several minutes fiddling with the beast. Good stuff!

This is fantastic.

Out of nowhere, an old-school piece is presented. Looks like WCLQ TV-61 (that is, 1980s) era Ghoul, in which he intros the final chapter in an animated series of shorts, in which a gigantic (think King Kong or Godzilla) Froggy terrorizes the city. Impervious to other attacks, only The Ghoul can stop him. He does just that in this last installment. How so? Froggy drops dead after The Ghoul shows him one of the movies from his show.

It’s a fantastic animated bit done by Dave Ivey, who (as I recall it) did other work for The Ghoul as well as Wolfman Mac. Does he sound familiar? He should; we saw him at Monsterfestmania! Yep, I myself met the guy behind this short! How cool is that?! And, I can tell you from first-hand experience he is a great guy! Super talented too; he was behind the entirety of this cartoon, from animation to editing to voice, himself!

Another old bit, this time officially as part of the “Vault of Golden Garbage.” I always looked forward to this segment in each show, and it was especially great when old 1970s and 1980s clips were presented, mainly because I wasn’t around for those initially.

This time, a newer bit (Ghoul says it was done about 6 months prior) was shown, though it’s still fun. Here, marionette dolls of a band who-shall-remain-nameless (and faceless) are shown cavorting about, and are duly blown up one-by-one, yet their remains continue to dance even afterwards. I love it!

A follow-up to the new guitar reveal earlier in the show. I imagine it was always welcome when things sent in by fans became the catalyst for entirely new skits.

The premise: The fact that he can’t sing or play hasn’t stopped The Ghoul from going on tour, performing terrible renditions of Ghoul-themed classic rock songs.

I love the insanely high tickets prices, especially the “Gold Circle” seats, which cost a second mortgage! Also, remember when it was the “Gund Arena” and not the Q? Flashback!

Do you recall those “can you hear me now” cellphone commercials? They were all the rage back in the early-2000s, when cellphones were the size of bricks, they needed what was equivalent to a car antenna to pick up any reception at all, and in their extreme primitiveness could only make phonecalls and not a whole lot else (except maybe play rudimentary black & white games of bowling – if you were lucky). Nowadays, I’m pretty sure my phone will make me a sandwich if I press the right buttons. I guess what I’m saying is we’ve come kind of a long way in the nearly 15 years since this aired. Whoda thunk it?!

ANYWAY, this short simple skit (alliteration) is a play on those old commercials, in which Froggy walks around asking the everlasting question of whether he’s cognizant to the person on the other end of the line or not. In doing so, he interrupts a kissing couple and The Ghoul while in traffic. Annnd that’s pretty much all there is to the bit.

Earlier in the show, The Ghoul presented a homemade Brain That Wouldn’t Die diorama sent in by some young fans. Naturally, they asked him to blow it up. (I can relate!) As promised, it was taken care of in spectacularly satisfying fashion later in the program.

I’m not sure what it is that makes us so enamored by destruction such as the act of blowing inanimate objects up; maybe the same thing that makes us oooh and ahhh at 4th of July fireworks. The same ideal was at play back when Letterman was crushin’ stuff or throwing things off a building. Nevertheless, mindless (albeit innocent) destruction is always a good time, and boy, The Ghoul excelled at it.

And so, there’s the show. Most of it anyway. I didn’t bother covering the emails read and a few other bits I couldn’t think up enough to write about. Still, you get the gist.

According to the outro, later that day they’d be celebrating Labor Day at (now long gone) Ghoulardi’s Bar & Grille, a pub whose namesake was the one that put all this Ohio insanity in motion way back in 1963. If you showed up (or mailed in a self-addressed stamped envelope), you could get the swanky, then-new pictures seen in the left screencap above. The Ghoul would even sign ’em for you!

After further reminders that the show would be back on Fridays the next week, that was it; time for The Ghoul to bounce on out of there, as the big bouncy ball in the right screencap above signifies.

Except for the later date and time slot reminders, this really does play out like a classic Friday installment of The Ghoul; from movie to segments to general energetic vibe, this was a pleasant rediscovery of mine. There were even some neat commercials found during it, and with the new television season then-imminent, the recording plays out like a veritable snapshot of fall 2002. TV-wise, at least.

Do Over Promo

As I recall it, that season there was more than one series dedicated to a present-day-whoever finding themselves back in time…but as themselves. I might not be 100% correct on that, but that’s what Do Over was, and though I never watched all that much of it, I do recall it not being too bad. Naturally, it was cancelled after that first year. Actually, a quick online search sez it never even finished its first season.

Anyway, the premise of the show was that a 34-year-old man finds himself in the body of his teenage self, and thus can relive his life to some degree. How or why he was in this predicament, I do not know.

The promo only uses (I assume) clips from the pilot. I seem to recall a gag about the star/son/whatever telling his dad to buy stock in IBM (?), though his dad seems more interested in buying stock in Betamax. I might not be 100% correct on that either. Also, there was a Blues Brothers-centered episode, if I recall correctly. Those may have even been the same episode, I don’t remember.

Ody’s Clothiers & Tailors Ad

ODY!!!

Ody and the clothing store sharing his namesake got a mention here before, in this Ghoul article. He advertised for years on WBNX, and indeed, from maybe the late-1990s to, well, when this aired, he was advertising a going out of business sale.

But here, the ad states he’s put all that on hold to have the “sale of a lifetime.” Special savings are touted, as well as a buy-one-suit-full-price-get-another-half-off deal, which in and of itself is a pretty good special saving.

I’m not sure when Ody finally did close up shop, but he was around long enough for me to get my grade school graduation suit from him. That was spring 2001, and it’s kinda wild (for me) to realize I was just starting sophomore year of high school when this ad (and episode) aired. Also, it’s worth mentioning that Ody himself waited on us during our visit, and he was ridiculously nice. Thus, needless to say, I always enjoy seeing old advertising for his shop.

Family Affair Promo

Yes, there was a remake of Family Affair. And no, your eyes don’t deceive you; that’s Dr. Frank-N-Furter (aka, Tim Curry) up above, starring as the new Mr. French. (Gary Cole was also in it.) Despite what the screencap above might suggest, there was no gritty gunplay in it (that I can recall); that was glop of some sort on Mr. French-N-Furter’s shoulder. It wacky!

For those unaware, the original show involved one “Uncle Bill” taking in his orphaned nieces & nephew, who were further looked after by his blustery British butler (alliteration) Mr. French. Despite not being a fan of that original series, I did actually tune into the remake, and just like Do Over, I didn’t think it was bad at all, though also just like Do Over, it didn’t make it beyond the first season.

I’m almost positive the promo here used only clips from the pilot; I seem to remember there was a cast change with the nephew after the debut, though no one is reading this article anymore (ever?) so what does any of this matter anyway?

Elvis #1s CD & Cassette Ad

I own this album. I like this album. I’m an Elvis fan. But that’s not quite why I’m adding this screencap.

Rather it’s because of where we are music-format-wise nowadays. I mean, can you imagine a time when a CD cost $20, plus shipping? And a cassette tape?! 2002 almost seems too late to be pitching cassettes! And at over $20 after shipping! Thas wild, yo.

Anyway, as you may surmise, it’s a television commercial for said album, in which you could order said album over the phone and receive said album in the mail. Thas convenience, yo. The album was a monumental success, even when compared to how much Elvis stuff sells anyway, and today you can find it brand new for a few mere bucks, and even cheaper used. It’s not quite my favorite Elvis compilation; sticking only to the #1 singles, not unlike that then-recent Beatles comp, left out a lot of a lot of great material, but as an overview of his chart-topping career, it’s still a terrific listen.

(For the record, my top favorite Elvis compilation is one from 1984 titled Rocker. At only 12 tracks and focusing solely on 1950s RCA material, rockers naturally, it’s not even remotely comprehensive. BUT, for pure, unadulterated fifties rockin’, it’s hard to beat. I long ago lost count of how many times I’ve listed to it the whole way through.)

Birds of Prey Promo

When I (re)saw this promo for the series premiere of Birds of Prey, it immediately rang a bell, and had you asked me about it beforehand, I probably would have guessed it’s part of the recent spate of comic-based shows that are so much the rage now.

But, I would have been wrong. Like Do Over and Family Affair, Birds of Prey didn’t last past that first season (was the WB not having a good year, or…?), but unlike Do Over and Family Affair, I never watched Birds of Prey and thus couldn’t tell you much else about it.

So, maybe it’s for the best that this is an uber-brief promo for the premiere; basically, you see some chick (I assume one of the titular characters) kick a guy, while the voiceover fills you in on when and where to watch. So, yeah.


And there you have it, the recap for The Ghoul’s presentation of House on Haunted Hill, as it aired buried in the late (well, early) hours of September 2, 2002. Had you read through this entire post (and I’m not convinced that you have), you’d know the Ghoul-history-aspects of the broadcast, but truth be told, that’s not really why this struck my fancy enough to write about.

You see, the best episodes of The Ghoul were like a whirlwind; through the combination of a chopped-up (and mocked-up) movie, host segments and general energetic vibe, staying up and watching one of these on a Friday really felt like an experience. Sure, maybe not every skit hit the target, but it was like a, I don’t know, calliope of wackiness, one that had you almost winded once it was all over. Or something like that.

As I’ve mentioned some 9000 times by this point, that aura was either done away with or cut waaaay back when the show was moved to Sundays, but that’s certainly not evident here; this really, truly does feel like what I so avidly stayed up to watch to every Friday night in the late-1990s (and most of 2000). As such, it’s like discovering an entirely new-to-me episode of a huge part of my childhood – which of course is essentially what it is. Cool winnins!

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 band, 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!!!!”) 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. 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.

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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.

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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!

WBNX TV-55 – The Ghoul’s Presentation of 1940’s “The Devil Bat” (January 28, 2000)

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A promise fulfilled!

Remember a bit over a month ago, when I babbled about my super cool budget Bela Lugosi DVD collection? You dont?! Well, that hurts me deep. Anyway, in that article, I mentioned my desire to review some locally-hosted Bela Lugosi, my attempt at a post regarding Invisible Ghost on The Ghoul, and my eventual termination of the whole project. I also mentioned my initial choice of Invisible Ghost over The Ghoul’s presentation The Devil Bat, which I soon came to regret. (The Invisible Ghost episode just didn’t give me enough to work with, y’see.)

Well, it’s rectification time! I dug out the VHS recording I made of The Devil Bat via WBNX TV-55’s revived The Ghoul Show way back in January of 2000, and needless to say, that’s our subject for today.

Even better, this is our first real episode of The Ghoul seen here at the blog! Oh sure, we saw 1982’s Poltergeist on the program, but that wasn’t really a Ghoul show, not the way it was meant to be, anyway. And yes, we did take a brief look at his 1998 Santa Claus episode, but that article wasn’t dedicated solely to him. Nope, this is our first real foray into the show that made up many, many of my Friday nights.

And no kidding, as soon as that opening montage above popped up on-screen (“IT’S THE GHOUL SHOWWWOW,” as performed by local band Destination), I was right back to almost-14-year-old me, relaxing on the couch on a Friday night at 11:30 PM. Powerful nostalgia, this one is.

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Unlike Invisible Ghost, which had a lot of content but not much I could adequately write about, this episode is an example of The Ghoul Show as I prefer to remember it. There’s a few skits, but most of the host segments are just studio-based screwing around, which, in my opinion, was when The Ghoul was at his best. This is laid-back, fun, Friday-night entertainment, courtesy of Ron Sweed’s legendary horror host.

You know what’s funny? I recall watching this episode as it aired (and as this recorded, obviously), but prior to pulling this tape out, I couldn’t remember nearly anything about it. And to be frank, I am 99.999% positive I never watched it again afterwards. This means that when I sat down to finally convert my VHS recording to DVD for posterity (a conversion that came out beautifully, thanks to my cute lil’ 6-head VCR), all of it was essentially new to me. This is about as close to recreating those Friday nights of my teen years as I can manage in this day and age.

I’m serious. That sense of anticipation for the weekly dose of Ghoul Power, it all came flooding back as I watched this, a feeling I wasn’t expecting to be nearly as powerful as it was. Everything just clicked this episode, making it a terrific example of just what I loved so much about those Friday nights over a decade ago. This isn’t high-art, nor was it supposed to be; this was (is) legit kick-off-the-weekend entertainment, Cleveland-style!

One thing I really liked right off the bat: there was a proper introductory host segment. Y’see, for many episodes, there’d be the opening montage, and then typically, a silly skit, apropos of nothing in particular but fun nonetheless. Why are there streamers and confetti all over The Ghoul in the screenshot above? Because it was his birthday weekend! Needless to say, that sets the tone for the rest of the episode. The show was always fun (well, maybe not always, when you take the “Sunday era” into account), but there’s a real “party” mood permeating this one, for obvious reasons.

We’ll get to all of that in due time, but first, the movie…

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1940’s The Devil Bat, one from Bela Lugosi’s poverty row output, in which he produces giant killer bats to attack his enemies. Less than a decade removed from the release of Dracula, and Bela was (mostly) relegated to doing films like this. On paper, it sounds downright insulting. And yes, it’s the kind of movie that should be so far beneath Bela, the script wouldn’t have been offered to him in the first place. Things didn’t work out that way though; Bela was typecast as Dracula somethin’ awful, and his heavy Hungarian accent didn’t help matters, either. So, as the 1940s dawned, he was increasingly forced to take projects like this one. Befitting a man of his stature? Not really. But, films like this kept his name visible to the public and money in his pockets.

Saying all of that kinda does a disservice to the film and Bela’s acting, however. No, it’s not the most highly-regarded thing he ever put out, but it IS immensely entertaining, and to Bela’s credit, he gave the role his all (he always did, no matter how weak the material). I can’t say this movie wouldn’t have been fun without him, but with him, it is undeniably a blast. But then, anything with Lugosi is worth at least a cursory glance, just because it’s Bela.

This exact broadcast was without a doubt my first time seeing The Devil Bat. The Ghoul had a wide-range of horror and sci-fi films during the “Friday era” of the show. Stuff as old (or older) as this or as recent as the 1990s could and would be shown. Because I was always a “classic movie” buff, flicks like this one were the most up my alley. And yet, as I’ve mentioned a few times on this blog, The Devil Bat didn’t really do it for me then. As a result, it left a sour taste in my mouth that lasted for years; it’s only in more recent times that I’ve fallen in love with it. Maybe it just didn’t hit me in the right mood that night. Or maybe it had to do with a couple factors regarding the version aired during this broadcast, which I’ll explain momentarily. I don’t know, but the fact is I didn’t care much about the film then. Luckily, I do now. Better late than never!

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Bela plays Dr. Paul Carruthers (given Bela’s accent, he doesn’t seem like much of a “Carruthers,” but whatever), who is not only the town doctor, but also a chemist for the local cosmetics company (“Heath Cosmetics”). Sounds like a plush gig? Not for Carruthers. Turns out the cosmetic company has made a fortune from Carruthers’ products, and Carruthers, uh, hasn’t. Carruthers himself is really to blame for the situation; when the company was first getting started, he asked for money up front for his concoction(s), rather than a buying a share of stock. This, needless to say, turned out to be a huge mistake, and he’s been salty ever since.

(However, while Carruthers is at fault for the initial decision, the company owners, Heath and Morton, tend to needlessly rub it in – even when they give him a $5000 bonus, it’s a pittance compared to what the company is actually earning.)

Just like any rational person with a grievance against their employers would do, Carruthers has decided the best course of action is revenge, and since he doesn’t seem like the witty-limerick-on-the-bathroom-wall kinda guy, that means the only logical choice left is to create giant killer bats to carry out his revenge. I mean, duh!

Using electronic impulses or something like that, he enlarges one to big honkin’ size, which is in addition to training it to attack upon smelling a certain aftershave lotion, of Carruthers’ own design naturally. A killer bat prepared to tear you up is one thing, but it’s so much worse when it’s the size of a large dog.

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You see where this is going, don’t you? Carruthers tricks members of the Heath and Morton families into wearing his special aftershave lotion (ostensibly as a test before marketing), and then releases the titular creature from his own personal belfry (every mad scientist should have one), which then exacts Carruthers revenge for him.

Naturally, you can’t have a big giant bat flying around killing people for very long before the press starts nosing around. And sure enough, two big city reporters soon waltz in for a scoop, and eventually put a stop to the whole thing. Well, one of them does; the other is basically comic relief.

Before the ordeal is over, you’ll be treated to shots of a rubber bat attacking people, a silly fake photo shoot, a couple of prerequisite love interests, a wildly ineffective (but surprisingly friendly towards the press) police chief, a stereotypically-grumbly newspaper editor, and enough outdated 1940s jargon to make you feel better about life. Plus, you know, Bela Lugosi.

With only a bit over an hour in running time, there’s not much time to screw around, and thus, The Devil Bat moves at a pretty brisk pace. It’s fast, it’s fun, it’s charmingly cheap, and it comes highly recommended by your Northeast Ohio Video Hunter. And as we all know, my recommendation is of tantamount importance.

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“W-w-what am I lookin’ at?!”

The Ghoul did not have access to the greatest print of The Devil Bat in the world. Not so hard to understand; nowadays we’ve got a couple really fantastic “official” versions on DVD/Blu-ray, but back then, you were limited to whatever had been making the rounds for decades. The Devil Bat is in the public domain, which means I could project it on the side of my garage while figuratively (literally?) thumbing my nose at Hollywood cause there ain’t no copyright on the film no more.

Beyond the expected scratchy, splicey nature of the print, the picture-quality was also pretty fuzzy – it almost looks like it was sourced from VHS. Which, fine, whatever, public domain and all that. More distressingly, however, is the fact that the picture is often incomprehensibly dark. (See: above.) No joke, there are long stretches of the film that, had I not already been familiar with it, would have left me utterly lost upon this latest viewing. Back in January 2000, this was perhaps one of the reasons the film didn’t endear itself to me.

Also, editing. You didn’t really tune into The Ghoul to watch a movie; the movie was just kinda fodder for humorous sound effects and whatnot. The Ghoul would pack so much into his host segments, that the film often felt like an afterthought, and the editing to make it fit into the timeslot sometimes made that abundantly clear. More often than not, a movie would be so chopped up, following it was all but impossible. The longer the movie, the less it would make sense on the show. Mind you, that’s not a complaint either; that was actually part of the fun.

At only about 68 minutes, The Devil Bat should have fit into the 2-hour timeslot allotted to this episode fairly unscathed. As it turned out, it’s easier to follow than a lot of movies shown by The Ghoul, but there are noticeable chunks missing, and some of them are pretty important. That fake photo shoot I mentioned a bit ago? Yeah, that’s not actually present in this broadcast, which thus renders some of the later actions (that are present in this broadcast) as pretty head-scratching to a first-time viewer. This probably didn’t help endear the film to me back then, either. Or maybe I just didn’t like it, I don’t remember.

What I don’t get is why there needed to be any movie-editing at all. Y’see, this episode runs just under 1 hour 50 minutes (not so unusual; The Ghoul always started on time, but when an episode ended wasn’t always set in stone). They couldn’t have filled out that unused 10 minutes with the rest, or at least more, of the movie? I don’t get it.

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But like I said, when watching The Ghoul, the movie was usually there strictly as fodder. That is, the various video audio drop-ins, the stuff Ghoulardi was doing way back in 1963 basically.

For The Devil Bat, there’s some funny audio bits; the Froggy “hi ya gang! Hi ya hi ya!” used whenever a close-up of a real bat is shown is great, as are the expected burps whenever someone takes a drink, incessant groaning whenever someone is killed, etc. On the video front, during a typical newspaper-headlines montage, clips of Cleveland Browns-related articles are inserted.

My favorite bit of movie-mockery here is something that The Ghoul was fond of using during his WBNX run: the fake-factoid bubbles. Remember Pop-Up Video? It was like that. Two examples of the phenomenon are, needless to say, pictured above. I loved these things back then, and I love them even more now; I had no idea who Dick Feagler was back in 2000, but I sure do now, which of course helps me actually get the gag. These bubbles aren’t as rampant during The Devil Bat as they were in other movies shown on the program, but I did love what was here.

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So, back to the show as a whole. (Well, the bits I feel like pointing out.) As previously mentioned, it was The Ghoul’s birthday weekend, and even though it wasn’t stated during the episode itself, Ron “The Ghoul” Sweed was turning 50 51. The big 5-0 5-1! Of course there was celebration afoot!

This was demonstrated at the end of the introductory host segment; the crew threw The Ghoul a surprise birthday party! (Hence, the streamers and whatnot all over him throughout the show.) I have no idea if this was a real surprise party, or just something cooked up for the cameras, and there’s not a whole lot to the bit other general frivolity. But again, it sets the tone for the rest of the episode.

(I want that 60th anniversary King Kong poster in the background above, by the way.)

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A very funny segment in which, as response to a viewer email stating “Big Chuck sucks,” The Ghoul claims he and Big Chuck are tight, and then pays “tribute” by showing the same two pictures of Chuck over and over while “Wind Beneath My Wings” plays and shots of The Ghoul sobbing uncontrollably are inserted between it all. This all goes on for just a bit too long.

On paper, it’s a bit that may confuse first-time or otherwise not-in-the-know viewers, especially if they happened to tune in while it was already in progress. Some may even claim it to be “stupid.” There’s no doubt it’s of only the thinnest premise. So why can’t I stop laughing at it?

(It’s important to note that The Ghoul and The Big Chuck & Lil’ John Show were scheduled against each other at that time. In the hype leading up to his television return in the Summer of 1998, I recall The Ghoul stating he hoped people would use their VCRs to watch both shows.)

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A “Soul of Ghoul” skit. The premise of these, and there were quite a few of them, was that the Soul of Ghoul, a black guy, was the polar opposite of The Ghoul in every way (“Yo Yo Yo” instead of “Hey Hey Hey,” white beard and mustache, black wig, etc.), and would constantly harass him in a Froggy-like style. In this installment, it’s the classic “shoe polish” trick, in which Soul of Ghoul places the substance on a telephone receiver (remember those?), and gets The Ghoul to answer it, with the expected results.

Somehow, I *think* the real meaning behind these skits went RIGHT over my head back then, though I of course get it now: these were a shot at Son of Ghoul. If the initials didn’t make it clear, The Ghoul’s declaration at the start of each sketch of “Now the brothers are rippin’ me off!” makes the message doubly-obvious. (Nowadays, he’d probably have to word that differently, too.)

At the time, I don’t think I knew about the legal troubles between the two in the years prior. At least, I don’t remember knowing about them then. I’d catch little shots from one against the other on their respective shows, but as I recall it, I never took those as anything more than a friendly rivalry kind of thing. I’d learn the truth later.

My stance on the matter? I grew up as a fan of both hosts, I liked the different comedic styles both brought to the table, and I remain a fan of both today. I wish things had played out differently between them, but that’s all I’m going to (or really, can) say about the situation. At the end of the day, it wasn’t and isn’t my battle to jump into.

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Not so much a segment as a returning-from-commercials bumper, but nevertheless, with Groundhog Day right around the corner, this is a very funny, holiday-appropriate goof on Big Chuck & Lil’ John. Hey, let the screenshot above speak for itself…

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For this host segment, before heading into the real purpose behind it, a quick demonstration of the then-new Ghoul travel mug and Turn Blue Ghoul Brew is given. See, it can hold liquid! (And if it don’t make you burp, “You got a bad one!”)

Turn Blue Ghoul Brew hasn’t been around since, I guess, the early-2000s? Mid-2000s? I sure miss it though. It was blue root beer that turned your tongue the appropriate color upon imbibing. (There was a green, lemon-lime variant called “Froggy Squeezin’s” as well.)

I only tried the Froggy variety once (the nearby DeVitis Italian Foods carried Ghoul drinks), and it was good, but I loved the Ghoul Brew. Very tasty – and it really turned your tongue blue! I’ve still got an unopened bottle (maybe two) floating around here somewhere.

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Immediately following that, it’s time for “Frankenstein Online,” later deemed “Frank-On-Line.” I remember the character, but I had totally forgotten about the early iteration of him. Lemme explain…

The gag was that the Frankenstein monster was real, and his body had been located, reanimated, and kept at the “Brownberry Institute” in Maryland. The torso remained there, but the head was on loan to The Ghoul. Contrary to popular opinion, Frank didn’t get a bad brain, he was just “nurtured badly.” (The Ghoul muses that if political correctness had been around back then, it could have been a whole different scenario.) Turns out, Frank’s very intelligent! And to prove that, viewers were invited to email him from the Ghoul’s website and ask for his advice!

The version of the bit I remembered was Sick Eddie, in green face paint, bolts, the whole deal, his head sticking up out of a table, dispensing advice is a mock-Frankenstein voice that to this day I find gaspingly funny. What I had forgotten, however, is that the character started out as a fake plastic head, and The Ghoul ‘voiced’ him off-screen. As The Ghoul’s intro makes clear, this was a very new addition to the show; it’s funny, but I’m glad they fleshed (Get it? FLESHED! HAW HAW H…aw never mind) the concept out a bit more.

For this installment in the soon-to-be long running segment, a viewer asks what he’s gotta do before asking a girl out on a date. Frank’s response? A series of incomprehensible grunts and yells! It’s not a segment that would have worked for very long doing the same thing every time, but here, it’s very funny.

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The Ghoul had a long-running, good natured “feud” with legendary local anchorwoman Denise Dufala. It was obviously all in jest, but hardly a week went by where a shot (sometimes literally) at her then-recent CD (I’ve got a copy!) wasn’t taken.

This bit was filmed during the holidays (hence the Santa Ghoul sleeves), and repeated endlessly, which was and is fine with me, because I love it. Simply put, The Ghoul was inside the WOIO offices (?), and as a final prank before leaving, he placed his fake beard and mustache on Dufala’s official picture. The screen then froze on the image, while “She’s a Bad Mama Jama” played longer than necessary. Good stuff!

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A short, random segment (I guess a good many of Ghoul segments could be considered random!) in which Froggy shows up without being implored to “plunk his magic twanger.” This clearly displeases The Ghoul, who then tosses some lady fingers at the amphibian, causing him to be duly carted off by some “paramedics.”

When Froggy explains that it’s been awhile since he’s been by (hence the showing up unprovoked), The Ghoul’s almost nonchalant response of “I don’t care!” cracks me up.

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For me, one of the biggest highlights in any episode was “The Ghoul’s Vault of Golden Garbage,” in which a vintage Ghoul skit would be presented. The chance to see material from the 1970s or 1980s, waaaaaaay before my time, it was fantastic.

That’s not quite what this installment was, though. It was an older bit presented, but not a vintage one. Rather, it’s a clip from 1999, and was actually the intro to one of my very favorite episodes (Attack of the Mushroom People). It’s definitely fun, and funny, and a good example of those non sequitur, apropos of nothing intros I mentioned earlier, but still, it wasn’t some new-to-me 1970s sketch, and that was (is) a little disappointing.

One of the crew must have found a busted “self-service” greeting card maker on the curb or something, gutted it, and brought it to the studio for a skit. Here, The Ghoul throws his money in the machine (“$3.95?!”), but when he attempts to make his own card, all he gets is a note stating “Wait a Second.” He soon discovers Froggy is in the back of the machine, which then causes Ghoul to rock the machine back and forth, throw it to the ground, and then tie a chain around it and drag it, via truck, around the parking lot until it falls to pieces!

Random? For sure. But, you know, I really do love it. I guess I can overlook it being of a then-recent vintage…

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Jungle Bob time! JB! My buddy!

Years before he began appearing on The Son of Ghoul Show, this was how I was introduced to Jung, by his appearances on The Ghoul Show.

I learned some great stuff from JB on those shows, including some facts I’ve managed to retain in my memory banks all these years. (At Monsterfestmania, JB confirmed my recollection that if I were to drop a tarantula, it’s abdomen would straight-up ‘splode!)

For his appearance here, JB brought some shrimp (one of which The Ghoul accidentally dropped – it was fine), one of those cool fighting fish PetsMart is always shilling (I taunted one once; it slammed a fist through the glass jar at me*), and some tadpoles, which naturally prompted a return visit by Froggy; The Ghoul proceeded to swing him around, which resulted in his arm accidentally ripping off! (Froggy’s arm I mean, not The Ghoul’s.)

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And that was pretty much it for the episode. (There was an obligatory model car blown up; I didn’t bother grabbing screenshots of that one. Besides, we all know what the best Ghoul blow-up ever** was!)

Before bouncing on out, The Ghoul presents a gift given to him by the crew: a talking Robbie the Robot doll! And then, after a final mention of it being his big birthday weekend (he won’t be able to make the Saturday WNCX 98.5 FM radio show he co-hosted with Mr. Classic at the time because of it), that was it, the last Ghoul Power for a week. It was always bittersweet seeing him bounce out of the studio at the end of each show, because it was over. Until next week, anyway.

I had a LOT of fun revisiting this episode. As I said before, this was basically all new stuff to me; I hadn’t seen this since it initially aired, so not only was it full of constant surprises, but it was just an all-around funny, entertaining show, to boot. Plus, it definitely gave me much more to work with than Invisible Ghost did.


Commercials! Commercials? Yes, commercials! 2000 is still just a bit too new for there to be a whole lot of vested interest in them for me. I mean, they’re a huge nostalgia boost personally when seeing them in action, but as far as writing about them goes, well, I’m not so sure.

Nevertheless, here’s a few (but just a few) I can kinda sorta babble about…

WBNX TV-55 The Lost World Promo

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WBNX excelled in hour-long, syndicated shows. It was like a constant stream of lazy Saturday afternoon fare, but almost all the time (‘cept prime time, that is; that was the WB’s turf). The Lost World was one such series, and despite loving the 1925 silent film, I don’t think I ever took more than a cursory glance at the syndicated series. Good? Bad? The hell if I know. I assume it was about people stuck in a dinosaur-inhabited territory. (Gee, what a guess!)

In all seriousness, nowadays, I probably would give this one more of a shot – maybe.

WBNX TV-55 Total Recall 2070 Promo

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Take everything I said about The Lost World above, ignore the dinosaur reference, and think of Arnold Schwarzenegger but not really. Do that…and you probably still wouldn’t have a clue about Total Recall 2070. I probably watched less of this show than I did The Lost World – and that’s saying something!

You know, I referenced the “Sunday era” of The Ghoul earlier. Some of these shows (Total Recall 2070 and The Lost World) were run after The Ghoul at certain points during that period. In fact, because I let my tapes keep recording loooong after The Ghoul was supposed to be over, I’ve captured examples of both, and probably more. I suppose if I were feeling adventurous enough, I could dig the tapes out and give ’em a try, but, meh.

Ody’s Tailors & Clothiers Ad

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ODY’S! Now this one, I just love it.

Ody’s Tailors was located very, very close to me at the time. Indeed, it was thanks to his commercials during The Ghoul that when it came time for my 8th grade graduation, I insisted, insisted that I get my suit from Ody. And I did, too.

This ad is ostensibly for Ody’s retirement sale, 25% off everything in the store, etc. But truthfully, these “retirement” ads ran for quite awhile; I’m pretty sure I recently saw one on an old tape of mine from 2002 or 2003. That was actually a good thing, since I didn’t graduate until the Spring of 2001 – I’m glad Ody was still around. He was ridiculously friendly. I’m glad we could throw some bidness his way, even if it was just that one time.

The WB Zoe…Promo

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I think I can count on one hand the number of WB shows I regularly watched. I’m not sure there were any, to be honest with you. Well, maybe one or two, tops.

And yet, thanks to promos aired during The Ghoul, I can certainly remember a good number of them. Zoe… is a good example of that. This promo is for the second season premiere of what was originally titled Zoe, Duncan, Jack and Jane. Obviously, they shortened the name to, officially, Zoe… (It’s pronounced, literally, Zoe Dot Dot Dot in the promo). I never watched either iteration, though for whatever reason, the original title made the show strike me as a ‘unique’ sitcom.

Lex Luthor from Smallville was in it, as was Selma Blair. That’s her in the left screenshot above, and it’s only now that I truly realize she was cute as a button.

WBNX TV-55 Unhappily Ever After Promo

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I realize this promo is from after the show ended and was thus in syndicated reruns by that point. Even so, it still counts as a WB series, and one that, even though I didn’t watch it very often, I actually kinda liked whenever I did happen to tune in. I don’t know if it holds up for me; it tends to be compared or related in some way or something to Married…With Children, which I know hasn’t held up for me. Nevertheless, I had more experience with Unhappily than I did poor Zoe… above.

The actual episode this promo is for? Something about each family member having fantasies or living out their dreams or something like that. Look, I’m at over 5000 words for this article now, I’m tired.


 

What a huge, huge shot of nostalgia this recording is! It’s like a nearly-perfect summation of just what I loved staying up late Friday nights to watch The Ghoul. Almost everything about it clicks, from the skits to the movie to even the commercials (yeah, I kinda gave those short-shrift here, I know; they’re fun in action, but there weren’t all that many writable ones – ‘cept Ody, anyway).

The Ghoul wouldn’t remain like this a whole lot longer; that coming fall, he’d be moved to Sunday nights, his movie selections ruined, his skits, host segments and movie drop-ins scaled waaaaay back. The entire show that had been building up since the Summer of 1998 would more or less be totally destroyed in one fell swoop. ‘Course, I didn’t know any of that was ahead. I’d suspect neither The Ghoul nor his crew knew, either.

I can’t really say this Devil Bat episode is my favorite, though I do think I’d put it in my top 10, if I were ever bored enough to make a list such as that (and rest assured, I taped so many Ghoul shows over the years, I could if I wanted). Even though I hadn’t watched it since the initial airing over 16 years ago, boy, I enjoyed nearly every second of it. Consistently entertaining, and a hugely nostalgic presentation; I wish every old recording of mine met those criteria!

 

*Aw, you know it didn’t, I was just kidding, chill out.

**In my humble yet-totally-biased opinion, of course!

The Nostalgia Merchant’s 1978 VHS Release of 1933’s King Kong

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Happy Thanksgiving!

We are now at quite possibly my favorite point in the whole year: right smack in the middle of the holiday season. The three-pack of Halloween-Thanksgiving-Christmas is the genesis of some of my fondest memories, and every year I look forward to this three-month stretch.

When it comes to Thanksgiving, not only do you have the excitement of Halloween just behind you and the anticipation of Christmas literally right around the corner, but you have a holiday that really gets by on just its own merits; all you have to do is eat and be thankful. That’s it! The absence of the crass, mega-commercialization that has come to define Christmas is something I really like about Thanksgiving (early bird sales on turkey day notwithstanding), though Christmas has the deeper symbolic meaning (at least, it’s supposed to). But then, both of those holidays can entail visiting with relatives you may or may not be able to stand, in which case Halloween gains the upper-hand in the “mental well-being” department. (Ironic, huh!)

In all seriousness, I really do love all three. Why am I not including New Years in that lot? Meh, New Years has always been kind of a downer to me. I see it as heralding the end of the holiday season I have just enjoyed so much, which of course is exactly what it is. Just doesn’t do it for me, man.

Anyway, Thanksgiving. It really is a simple concept (well, unless you’re the one hosting dinner), consisting mainly of eating copious amounts of food, being thankful, however one may personally go about doing that, and in more modern times, watching a whole lotta TV, which of course is the facet of the holiday that this post takes residence in. The annual Macy’s parade and football garner the most attention, but movies can be, and often are, a big, big part of it too.

In that regard, Thanksgiving’s unofficial movie mascot is none other than King Kong and his ilk. Maybe not so much anymore, but for years King Kong, Son of Kong and Mighty Joe Young were staples of Thanksgiving Day television broadcasts in markets all across the country. Indeed, a few years back we took a look at a complete 1979 broadcast of Son of Kong on New York’s WOR-9, and this year, we’re going to see Papa Kong himself in action.

For Thanksgiving this time around though, we’re not going to look at Kong via an old television broadcast, but rather through, quite possibly, the first home video release of the original 1933 film. From 1978, here is King Kong on The Nostalgia Merchant label, and from top-to-bottom, it’s one of the coolest tapes in my collection (I don’t make that statement lightly, either!).

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This is not an easy tape to come across. In fact, it’s pretty darn rare. So when I saw a copy for sale online (the first one I had ever seen, actually) and fairly-reasonably priced to boot, I jumped at it. Money well, well spent, and that’s coming from me, a guy that’s almost perpetually broke!

Yeah, yeah, I can hear it now: “Well, gee, Northeast Ohio Video Hunter, I’m seeing a buncha Nostalgia Merchant Kong tapes for sale online!” Okay, finding the movie on the Nostalgia Merchant label itself isn’t even remotely hard; beginning around the mid-1980s, Nostalgia Merchant had a wide range of films out on video store shelves, complete with pretty cool, eye-catching slipcases. Heck, I’ve had that respective VHS release of King Kong for years now.

This tape, however, isn’t one of those. This is from before all that. From how I understand it, and I’m the first to admit I’m no expert here, Nostalgia Merchant first began life in 1976, at the dawn of the home video era as we now know it. They first specialized in 16mm and Super 8 films and the like, and then, near as I can tell, began releasing their movies on VHS and Betamax starting in 1978. Considering pre-recorded home videos didn’t come on the scene until 1977, Nostalgia Merchant was in the game waaay early on. I have no idea if these were mail-order only releases or how long they were available before the more well-known iteration of the company (apparently after it affiliated with Media Home Video) began re-releasing many of the same movies in their subsequently more-common form, but I do know that these 1978-copyrighted tapes are (at the very least) highly obscure nowadays.

Indeed, I had no knowledge of these super-early Nostalgia Merchant releases at all until I happened upon one at a nearby thrift store some months back. It was volume 3 in Nostalgia Merchant’s line of Laurel & Hardy shorts releases, which was cool enough on its own, but it was the copyright of 1978 that figuratively raised my eyebrows; in this day and age, I really don’t come across tapes of such vintage all that often. When I do, I tend to snap them up, so in the case of Laurel & Hardy, I had no problem plunking down my three big bucks.

Still, for as much as I like Stan & Ollie, which is quite a bit, when I looked at that generic die-cut sleeve emblazoned with all the stars ostensibly available on the label, and especially at the list of other titles available on the back, I couldn’t help but feel that getting some of them in the ‘format’ would be even cooler. Make no mistake, King Kong was way, way at the top of that list. So again, when I happened upon a copy for sale online, I had to take the plunge.

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Now that I’ve got my precious, precious King Kong, I’m seeing several more “gotta haves” listed on the back of the box. In the same vein as the subject for today, Mighty Joe Young is probably now at the top of that list. Furthermore, apparently the only legitimate video release of Return of the Ape Man was on an early Nostalgia Merchant tape like this, so needless to say that’s also something I need in my life, as well.

Believe it or not, I had to order this movie from a Canadian seller, but as the sticker on the back of the box attests, it originally hails from Chi-Town. Whether the tape eventually arrived in Canada due to something such as the owner simply moving there, or instead due to a more convoluted history, I couldn’t say. No matter, it’s in my hands now, and that’s where it’s going to stay.

I find the old video store sticker itself incredibly interesting, too. Since the national Hollywood Video chain was started in 1988, it’s a safe bet a tape this old wouldn’t be showing up at a Chicago chapter. Rather, methinks this was an early video store that happened to share the same name but was otherwise unrelated to said national chain. If someone had more info on this Hollywood Video, perhaps a more exact time-frame for the release this King Kong tape could be deduced (as in, how long it was, roughly, out there).

Anyway, some may see this old school video store sticker as a detriment to the original tape sleeve. Not me. I’m a sucker for remnants of the early video era, and this Hollywood Video of Chicago sticker fits that bill nicely. Besides, these generic early Nostalgia Merchant sleeves were all the same; someone could always switch it with another tape’s sleeve, should they wind up being overly concerned about this sort of thing.

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Like I said above, and just like my aforementioned Laurel & Hardy tape, this sleeve is a one-size-fits-all variety. In other words, it be generic. Anything pertaining to the movie contained within is on the tape label itself, rather than the back of the sleeve as would become common in short order. And actually, that’s not uncommon with these super-early video releases; for example, the very first pre-recorded videos on the Magnetic label eschewed any kind of description (beyond the basic facts of running time, stars, etc.) in favor of a list other titles available.

It wouldn’t take very long for that sort of thing to morph instead into a product that was really trying to sell the prospective buyer on the movie, both in fancy-shmancy artwork and descriptions so vivid they’d practically punch you in the face repeatedly until you decided to just rent the damn tape already. So, seeing these early examples of the format hold some interest beyond that whole initial “thas an old copyright!” exclamation you undoubtedly shrieked, either vocally or mentally.

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Also just like my Laurel & Hardy tape in the same format, the tape kicks off with a static, very “filmy” logo. I really have a hard time explaining it, it has a real home-made feel to it, like it was copied from an actual film reel or something. This site calls it a grainy, 16mm, Film-O-Vision style, and that explains it better than I ever could. See that up above? Thas the early Nostalgia Merchant logo, is what it is.

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I love everything about this movie. Should I ever be required to absolutely, positively name my top 10 favorite films, this original King Kong  is safely, safely on that list. It’s quite simply a film I’ve never gotten tired of.

You know, even though I own the movie many times over, old VHS releases are, to this day, still a severe weakness of mine. This one, I had to have it obviously, but really, any Kong tape I come across and don’t already own, it simply must become part of my collection. And therein lies a tale…

It all stems from when I first saw the 60th anniversary edition (with the swanky roaring chest box) for rent in 1996. I knew only the most basic details of Kong beforehand, but as soon as I laid eyes on that tape (and pressed that oh-so-cool roarin’ button), it became a film I had to see. It doesn’t hurt that I was just getting into horror and sci-fi films and general tape collecting around that time, either. I was with a friend and his mom at a kinda far-off video store when I saw that rental tape, so it couldn’t really come home with me right then, and besides, I wanted to own the film outright.

Problem was, the tape was released in 1993 (1933, 1993, 60 years, dig?), and in the three years since, for whatever reason, it was impossible to find for sale. Remember, this was before Amazon, eBay, and such. You were basically limited to the brick-and-mortar stores around town, and if Blockbuster couldn’t order it, guess what? Y’all was outta luck. (Oddly enough, I later did ask mom to call that store about the Kong tape, and they seemed to have no idea what we were talking about. The hell?)

So, being a young video taper, I banked on a TV airing. Even then I knew Kong was a Thanksgiving movie. But as luck would have it, it didn’t air that Thanksgiving. Figures. It didn’t really air anywhere at all, truth be told. So, I settled for whatever Kong did show up on TV. Before I was actually able to see the original, I recorded, watched, and became a Kong fanatic via the 1976 remake (which was, in retrospect, pretty bad, but I didn’t know any better at the time), the Japanese entries (King Kong Vs. Godzilla & King Kong Escapes), even the Son of Kong sequel I wound up seeing before I saw the movie that started it all.

Anyway, eventually Turner Classic Movies ran the original, I taped it, and here we are. But like I said before, to this day, when I come across a Kong tape, I pretty much need to buy it. Simply because it was so hard for me to see for so long. Doesn’t hurt that it’s a terrific movie that I appreciate more and more as the years go by.

That’s the title screen up above, by the way.

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I can’t imagine anyone stumbling upon this post that hasn’t seen the original 1933 King Kong by this point. When it comes to classic giant monster movies, it’s pretty much the cream of the crop. From storyline to special effects to pure excitement, it’s incredible just how well this movie has held up. Some of the acting and attitudes date the film to the early-1930s, but those are easily forgotten thanks to the overall aura of timelessness that is the hallmark of genuinely great movies from the time period. Remember my similar sentiments regarding Undercurrent? They’re even more apt in regards to King Kong.

(Some spoilers ahead)

The plot concerns filmmaker Carl Denham (Robert Armstrong), famous for his many jungle movies, who wants to make the biggest and best jungle flick of them all. He needs a pretty face though. So, he heads out into New York to find the perfect girl for the part. He comes upon Ann Darrow (Fay Wray), who has some acting experience, albeit limited.

Ann is everything he’s been looking for. So, he enlists her for the picture, and he and his crew set off on the high seas, headed towards the mysterious “Skull Island.” The natives there supposedly worship a god they call “Kong,” an idea that hopefully promises to be the very spectacle Denham needs to make his film the massive success that he wants it to be.

When they finally arrive at the island, they stumble upon the native ceremony featuring their latest “bride of Kong.” The natives are initially angry at the interruption, until they notice Ann, and begin making offers for her (Denham: “Yeah, blondes are scarce around here.“). Denham and his crew obviously make a hasty retreat back to the boat.

That night though, the natives sneak aboard the ship and kidnap Ann. Her absence is quickly noticed, and the crew sets out to rescue her. When they arrive back on the island, they find that Ann is set as the new bride for Kong.

As per the screencap above, that’s when King Kong himself makes his grand entrance. Kong is a gigantic ape, the king of his domain, and he is instantly enamored with Ann. He grabs her and runs off into the jungle, leaving her would-be rescuers with little choice but to go into the unknown after her.

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Kong ain’t the only big giant thing on Skull Island, though. Turns out numerous prehistoric creatures call the place home as well. Dinosaurs, pterodactyls, snakes, they’re all humongous and they all have to be dealt with along with Kong. Kong not only thwarts his pursuers, he’s also a scrapper; he fights (and defeats) every creature that comes his way, both to protect Ann as well as to further assert his dominance. This is Kong’s turf and he rules it completely.

The special effects here are largely of the stop-motion animation variety. Despite being from 1933, they, against all odds, hold up wonderfully today. Even with all the CGI trickery of modern movies (including Peter Jackson 2005’s version of King Kong, which was really far better than a remake has a right to be), stop-motion has such a, I don’t know, more natural look to it, I guess. It’s amazing how special effects from the early-1930s can still portray so well the emotions of the creature they’re animating. Somehow, you really believe Kong is excited, happy, angry or hurt. It’s uncanny!

Willis O’Brien was behind the stop-motion animation, and one viewing of King Kong is all it takes to know why he was such a master at his craft.

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Ann is eventually rescued and Kong is captured and brought back to New York. A spectacle such as Kong is even better than the picture Denham intended on making!

For as great as the entire movie is, this is my favorite part of the film, when Kong escapes, re-captures Ann, and goes on a rampage throughout the city. The contrasts between the real jungle and the concrete jungle are obvious here, and just like on Skull Island, Kong is nearly unstoppable. He wages a path of destruction everywhere he goes, probably just as much out of fear and confusion as it is anger and protection of Ann.

For me, one of the most memorable parts of Kong’s trek through New York is his wrecking a passing train. The shots of the passengers unknowingly hurtling toward Kong and then the looks of shock and fear on their faces when he attacks drives home a point that may be hard (or even unfathomable) for some modern viewers to grasp: there was no instant communication back then! Kong could stomp around the city, surprise people in their apartments, even wreck a train, and no one would be the wiser until he’s upon them. No cell phones, no texts, no news update. I don’t know why this little aspect stands out to me, but it does.

The rampage through New York is actually fairly short, especially when compared to the amount of time spent on Skull Island, but it basically acts as the prototype for every “big huge monster causing havoc in a major city” film that was to follow. King Kong wasn’t quite the first movie to tackle this or other plot points featured in the film (1925’s The Lost World basically served as a test-run for much of this), but few, if any, films ever did it better.

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And that all leads to one of the greatest moments in cinematic history: the climatic sequence of Kong climbing to the top of the Empire State Building and battling oncoming airplanes sent to shoot him down so Ann can be safely rescued.

I think we all know how it ends: Kong puts up a valiant effort, but in the end, the bullets take their toll and Kong tumbles off the building to his death. And yet, even though the ending is common knowledge nowadays, it still manages to be absolutely thrilling. And, despite the carnage, you actually feel for Kong here; you can actually see how he realizes he’s not going to win this fight, and you actually feel sympathy when he, in his own way, says goodbye to Ann before he gives up the ghost. The whole sequence is just fantastic.

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And that ending scene! Even if you’re just limiting yourself to giant monster movies, it’s hard to top it: after Kong has met his demise, Denham pushes his way through the crowd and looks sadly at the creature. His response to the statement that the planes got him? “It wasn’t the airplanes, it was beauty killed the beast,” one of the great final lines in movie history. That coupled with that last image and then the fade-out, man, it’s just fantastic.

Yeah, I know, I just gave away much of the film, but even so, if you haven’t seen this movie, go see it! I can’t possibly do it the justice it deserves in just this article alone.

A couple points about this particular release of King Kong:

First off, it’s pretty scratchy and dirty. Some scenes are way too bright, and some scenes are way too dark. It looks more like an old television print than it does a home video release; heck, this might be an old television print, though it’s missing the identifying hallmarks of such (i.e. the old “C&C Movietime” logo that vintage TV prints often carried). Most people probably didn’t care at the time though; it was such a novel concept to be able to own and watch a movie at home whenever you wanted that the print quality of the movie wasn’t that much an issue. Still, it’s probably safe to say that this is the roughest looking print of Kong ever released to home video proper (excluding pre-VHS/Beta releases, of course).

Also, the label states the run time is 105 minutes;  Ignore that. The running time is closer to 97 minutes. Yes, this is an older, cut print of King Kong!

Lemme explain: when Kong was first released in 1933, it was a Pre-Code film. That is, it was released before the infamous Hays Code was rigidly enforced. But, the film was so monumentally popular that it was re-released numerous times throughout the years when the Hays Code was rigidly enforced. Thus, scenes that passed muster the first time around were steadily excised for subsequent releases. Segments featuring Kong ripping off Wray’s clothes and sniffing his fingers, stomping and chewing on natives, and dropping a woman to her death during his New York rampage were all deemed inappropriate and eventually edited out of the movie.

Those scenes were later rediscovered and added back to the film, and most home video releases (to the best of my knowledge) are of the complete King Kong…but not this one. That’s right, many (or even all) of those ‘controversial’ segments are missing from this early Nostalgia Merchant release! Whether this is a result of this being an old print prepared for TV or just a pre-restored print in general, it’s still pretty surprising to see this cut version of the movie, especially since every home video version I had seen prior had all of the footage. Even the later Nostalgia Merchant releases specifically touted the film as the uncut version.

I’m not complaining though. In this and age, it’s nearly impossible to find a version of the film that isn’t complete. But to watch one of the older variations, one that several generations of movie lovers probably grew up with, and in its probable initial home video release, no less? That’s pretty cool!

By the way, the long-lost spider pit sequence isn’t in this one, either.

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It’s tough for me to find words adequate enough to portray just how cool this tape is. Sure, at heart, it’s just an old, scratchy, edited print of King Kong. It wouldn’t be the choice of purists, I know.

But that’s not really the point. This was, in all likelihood, the first release on the then-fledgling VHS home video format. It’s not even just that this was probably the first, either; rather, it’s what that represents (and this goes for the early years of home video in general). That is, no longer would someone have to wait for their favorite film to show up on TV, which in the case of King Kong, could conceivably not be until next Thanksgiving. With a tape like this, any day could be Thanksgiving.

And that’s yet another reason why I do what I do and collect what I collect. It goes beyond the movie, beyond the copyright date, and deeper into what it all represents as a whole. Man I love this hobby.

Plus, it is a really, really old release of King Kong. I can analyze all day if need be, but when it comes right down to it, that’s just neat. No way could I have envisioned owning this when I first set my eyes upon that roaring box edition way back in 1996!

Have a great Thanksgiving, everybody!

Mill Creek’s 3-Disc The Best of the Worst 12-Movie DVD Set

 

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Look what I got! A 12-movie, 3-disc budget DVD set of what are, ostensibly, the best of the worst movies ever made! Cool winnins! I was stoked to get this! And it was cheap, too! In general, this set tends to run, from what I’ve heard, between $5 to $10, a price that is completely acceptable even for someone that’s as perpetually broke as I am (mine was $5). And if awful, awful movies are what you’re after, the first disc alone warrants that price (we’ll get to all that in a bit).

Even though this came out in 2013, I just found out about it recently. Guess I’ve been off my budget DVD game. It’s put out by Mill Creek, who have, over the last several years, proven themselves to be purveyors of fine, fine DVD releases. I’m not just saying that because I dream of them sending me a bunch of free crap, either; any company that releases the complete series of Hunter is automatically my friend.

The fine folks at Mill Creek are no strangers to releases such as this, either; there are several budget DVD sets of cheapie horror/sci-fi flicks put out by them. They follow a similar format, except this set is the only one to come right out and tell you that the movies contained within are gonna blow. Since the ‘genre’ of bad movies is particularly popular right now, it’s a pretty smart move on Mill Creek’s part. Hey, got me to buy it, and isn’t that the really important factor here?

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(Click on the pic for a, how do you say, super-sized view.)

I can’t help but feel this is a set geared towards fans of Mystery Science Theater 3000 (which as has been proven time and time again, is exactly what I am). And It’s not only because of the whole “these are bad movies you can laugh at” concept, either; a full half of the selections on here were featured on MST3K. There were a lot of bad movies on the show, yes, but considering one of the films featured here is known solely because of MST3K, well, I don’t think it’s coincidental marketing (or whatever you’d want to call it).

Though as a longtime MSTie, I tend to see allusions to the show where they weren’t intended to be, so take that for what you will.

Like so many budget DVD sets, the titles found here are limited to the realm of the public domain, which I don’t mind a bit. Sure, some of these movies have been making the rounds for decades, going back to the VHS days (I’m looking at you specifically, The Terror), but when they’re put together under the banner of “entertainingly bad films,” it all clicks in a way that they wouldn’t have otherwise. Why pretend these are something they aren’t? It’s a move I absolutely respect, though in all fairness I does loves me a good bad movie (plus that whole MSTie thing); your mileage may vary, however.

However, If I’m being perfectly honest, I don’t really agree that these are all the best of the worst. There’s a few titles that, while undoubtedly ‘bad’ movies, feel more like filler than anything. Like I said before, Mill Creek has put out other similar sets, and it just seems to me that they used up many of their “heavy hitters” already across those. Example: there’s just no reason The Creeping Terror, one of the most infamous bad movies ever, shouldn’t be on here. Keep in mind that Mill Creek did indeed get the rights to release it (contrary to popular belief, it’s not public domain), on their 12 Creature Features set, so the absence of shag carpet monsters and insane narration on The Best of the Worst is a little head scratching. I guess I can see them not wanting to repeat titles across their various sets, which I applaud, but for the films that are here and what this set purports to be overall, it still feels like a particularly glaring omission to me.

Don’t get me wrong though. While I think there could have been just a bit more refinement in the selections, I am overwhelmingly happy with the set. And besides, despite the title, this probably isn’t really intended to be the end-all be-all release of the best bad movies ever. It’s a $5-$10 bargain DVD set, after all; there’s plenty here to justify that small amount, at any rate.

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The set consists of three, single-sided discs with four movies on each one. Since many of these are pretty short, it’s not an unreasonable amount. All three discs fit in a regular-sized DVD case, on one single spindle. That means if you want to watch a disc that isn’t directly on top, you’ll have to physically remove one or two discs first, but it’s a small price to pay for such a fantastic load of crappy, crappy movies.

And with that said, lets take a brief look at the actual contents of the set, because hey, that’s what the people want, right?

(I might as well say right now that some of the movies on this set I’m more familiar with than others. Most of them I’ve seen, but some I saw looong ago; I’m not claiming to have sat down and watched every one of these exhaustively while taking notes for this. I’m just giving the straight dope on the set, you make up your own minds from there, paisanos.)

Disc One

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The menu for each disc is super simple. What you’re seeing above is basically it. The two film reels in the corners continuously spin, but that’s as close as things get to a “wow!” factor. Not that it really matters, because c’mon, when you’re getting this much bang for your buck, there comes a point when demanding even more turns you from wanting the most for your money into a nitpicky whiner. Cut that stuff out, man. (Says the guy who just complained that The Creeping Terror isn’t here.)

In terms of badness, this first disc is absolutely the roughest of the three. For anyone trying to make it through the whole thing in order, the rest will almost (almost) come as a relief after making it through this one. Disc one includes a bad movie, a really bad movie, and two legitimate contenders for worst film ever. In other words, the entire price of the set is justified in the first disc alone.

Also, all four of these movies appeared on Mystery Science Theater 3000, and I’ll say up front that it’s often strange to realize there won’t be any riffs; you’re watching these as-is. The more well-known the respective episode is, the odder it feels, and there are points where you (or at least I) will instinctively think of the appropriate riffs.

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Can you say “starting things off with a bang?” Manos: The Hands Of Fate, a film that would have been completely and utterly forgotten after its disastrous 1966 El Paso premiere had it not been for Mystery Science Theater 3000 resurrecting it and turning it into one of the most loved bad movies ever. Despite being movie one, disc one, this is really the centerpiece of The Best of the Worst, as far as I’m concerned. Mill Creek must have realized that, as the portrait of “The Master” under the credits on the back of the DVD make clear. Forget the other 11 movies on the set, Manos alone is worth the price of admission.

The beauty (ha!) of the film is that it’s just such a mess. The camera used could only film 30+ seconds at a time, making for really weird continuity. Furthermore, it was filmed silent, so all of the voices were dubbed in later (at least they didn’t go the hackneyed narration route). The capper? It was very literally made on a bet by an inexperienced El Paso, Texas fertilizer salesman (director-producer-writer-star Harold P. Warren). The plot is all over the place, and the music ranges from awkward to downright unacceptable. Basically, every aspect of the film that can be wrong, is.

But, except for a really screwed up scene during the conclusion, it’s really not a movie you can full-on hate, because it is just so utterly out there. Manos tells the tale of a family stranded at remote lodge that is in actuality the base of operations for a polygamous cult that worships “manos.” There’s “The Master” (who rarely, if ever, approves), his constantly bickering bevy of wives, a necking couple in a car that serves no purpose, and some cops that are even more useless. But the character most everyone loves is big-knee’d, shuffling, twitchy-faced, jerky-voiced Torgo (That’s him above), the caretaker of the lodge. Torgo gets his own goofy theme music and, despite technically being a bad guy, winds up becoming something of an anti-hero, even after he makes the worst pass at a woman outside of me. I have a hard time believing the movie would be so loved if it weren’t for Torgo.

I won’t even try to explain further the wonderfully bizarre circumstances surrounding this film, so let Wikipedia tell you all about it. If you like bad movies but haven’t seen Manos yet, well, it’s pretty hard to top. Like I said before, worth the price of admission alone.

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Being on a budget DVD set isn’t necessarily an indicator of public domain status, but word on the street is that this film has indeed lapsed. Which is fine by me, because this is one of the bigger surprises (for me, anyway) on the set. It’s also the newest selection on it, if you can consider 1976 “new.” The subject of one of my very favorite MST3K episodes, this is really bad (and thus, really good) 1970s sci-fi, complete with the dreary color scheme that must have colored the entire decade. It’s just ‘horrific’ enough to satisfy the masses, but just goofy enough to keep things from becoming overly depressing. Featured during the final season, it was and is perfect MST3K fodder for the Sci-Fi Channel era of the show.

Did you know that being hit in the head by a piece of meteorite (“Moon rocks? Oh wow!“) can turn you into killer lizard monster that somehow ties into Native American folklore? Well it can, and to a hapless anthropologist, it does. Also included: Johnny Longbow’s killer stew recipe, a shop that sells both coins and guns, and a tent full of old guys. Oh, and a live performance of the smash hit, “California Lady.” Is it wrong that I’m considering making an MP3 of the song for iTunes?

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Now is as good a time as any to mention that the quality of the films on the set vary from feature to feature, but the condition of the prints is overall better that many “cheapie” movie sets out there. Thus far, Track of The Moon Beast looks okay, and Manos is, well, Manos, but the print used for The Beast Of Yucca Flats is absolutely terrific. There are the occasional scratches and dust, but it’s mostly very clean, crisp and clear. Honestly, I don’t think I’ve seen the movie look better.

Which is a hollow victory, because as far as I’m concerned, it’s the worst film in the entire set. The product of Coleman Francis’ fevered mind, and just like everything else Francis set his hand to, it’s a slimy, unpleasant film. Unlike Manos, which is also grimy but also, against all odds, somehow endearing, Beast is just an ugly, ugly movie. Even star Tor Johnson, who I normally find quite entertaining, can’t save it. Say what you want about Ed Wood, Coleman Francis was an infinitely worse filmmaker. I can’t decide if this is better or worse than Francis’ other cinematic abominations, The Skydivers and Red Zone Cuba (both also featured on MST3K), but in the end, if it has Francis’ name on it, there is no genuine “better,” just different levels of “awful.”.

The plot is some tripe about a defecting Soviet scientist (I hope can you buy Tor Johnson as a scientist, because that is exactly what the film posits) that gets caught in a nuclear blast and is turned into a mindless killer. Even the narrator’s deathless non-sequitur of “Flag on the moon; how did it get there?” can’t provide enough comedic momentum to sustain viewers through the 50+ minute (yes, really) running time.

Oh, the narrator? Yeah, this movie has no real dialogue; it’s almost entirely narrated (by Coleman himself), and what in-movie speech there is isn’t actually synchronized with the film; it’s spoken when mouths aren’t clearly visible or even on-screen at all. The Creeping Terror pulled that crap too, but there it wound up funny. Here though, it just makes you resent life and the fact that something like this could not only be made but also released to an unsuspecting public.

I hate this movie and can’t say enough bad things about it, which of course means it’s a perfect addition to the proceedings, simply because of how sickeningly, jaw-droppingly bad it is.
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After the soul-crushing saga that is The Beast Of Yucca Flats, Eegah almost comes as a respite, and rest assured, that’s not a statement I make lightly, because there aren’t many instances where Eegah can ever be seen as a respite.

Long story short: a caveman still exists in a California desert, he develops an attraction to a teenage girl, kidnaps her father, kidnaps her, they both get saved by the girl’s guitar-wielding boyfriend (though he doesn’t save them with the guitar; that would be just too much!), the caveman follows the whole lot to a pool party, and gets shotted dead. The end.

Eegah is frequently listed as one of the worst films of all-time, a rating that I find just a little overrated. Oh, it’s really bad alright, and there’s an icky shaving scene, an even ickier implication that there was some off-screen romancin’ afoot between the teenage girl and the guy who plays her dad, and an even ickier moment when the girl’s dad basically tells her to put up with Eegah’s affections. There’s even some superfluous songs by the boyfriend (played by Arch Hall Jr., who y’all will recall I met; Arch is a very cool guy and a lot of fun to talk to)!

But, even with all that, I never saw Eegah rising to the levels of near-unwatchability such as, well, the previous movie on this set did. For the most part, it’s 1960’s drive-in schlock, and while it’s certainly terrible, it’s not that terrible. I have a hard time hating anything like this from the decade where, at least on the surface, it’s all meant to be relatively innocent. I guess.

Watch out for snakes!

Disc Two

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Disc two is probably the least painful in the set. Only one movie on it (The Atomic Brain) is gut-wrenchingly terrible. Unfortunately, as far as that whole “movies so bad they’re good” vibe goes, it’s also where the set loses some steam, and from here on out, things are a bit hit-or-miss. The fun-factor never goes away completely, but after that powerhouse (ha!) of a first disc, well, it’s a hard act to follow.

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The Ape Man! Starring Bela Lugosi! Bela is always a plus, and it allows Mill Creek to draw on his name on the back cover. I think Scared To Death may have been a better choice as far as “bad-good” goes (and it’s a color movie, to boot), but I was actually kinda pleased to see The Ape Man here. Though in all honesty, I just kinda skimmed this one here and I don’t recall seeing it in the past, so maybe that’s an unfounded viewpoint.

The plot is formula stuff. Lugosi is a mad scientist whose experiments cause him to turn into the titular character. It’s a poverty row Lugosi flick, though I’m the first to admit that I have a soft spot for those.

And really, that points to my main area of interest with this one: after Dracula succeeded in stereotyping him somethin’ fierce, by the 1940s Lugosi was forced to take on mega-cheap horror/sci-fi flicks not unlike this one. It’s a good example of his film work at the time, to see a legitimate movie legend reduced to movies of this caliber. But, it’s usually fun to see him in anything, and even when it’s a by-the-numbers affair like this, his magnetism can drive the film further than a different actor may have. Plus, the low-budget affairs of the 1930s and 1940s, while obviously not comparable to Universal’s output, can often be pretty entertaining time wasters.

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The Amazing Transparent Man, another flick that popped up on MST3K. I first saw it on The Ghoul, waaay back in 1999 or 2000 (I still have my recording of the episode somewhere). Truth be told, it’s another feature that I think really isn’t that bad. I don’t think anyone will claim it to be good, but it’s relatively painless.

The title makes it sound more spectacular than it really is. It’s actually just a low-budget twist on the classic “invisible fella” formula, only this time with a mad scientist trying to create a slew of invisible baddies as part of a world domination scheme. He enlists a criminal to act as a guinea pig and steal the needed ingredients to complete the scheme.

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The last MST’d movie on the set, and whoo-boy is it a baddie. This is the low-point of disc two, and it absolutely deserves a place of honor in this collection.

The Atomic Brain is some hokum about a decrepit old woman that wants to switch brains with a younger dame. Eternal youth or some crap like that. Eventually, someone’s brain ends up in the head of a cat somehow. I don’t know, this one causes my eyes to glaze over pretty bad, even on MST3K.

The real eyebrow raiser here is just how sexist the movie is towards women, especially since it is woman as the catalyst for all of these shenanigans.

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First off, it was a pain trying to find a good ‘action’ screencap for this one; I was never satisfied with the choices, and even now I’m really not all that happy with my pick. It’s an axe crashing through a wall is what is.

The plot is one of those “fake crime turning into a real one” deals, as a woman trying to scheme her way into a family’s will leads to some very real axe murders.

The really interesting thing about Dementia 13 isn’t so much what it is (though it’s a fairly violent movie for the early-1960s) but rather who was behind it: none other than Francis Ford Coppola! You know, The Godfather guy. Mr. Apocalypse Now himself! And believe it or not, this was his very first ‘legit’ movie! I wouldn’t say it gives much indication of the esteem that would later befall Coppola, though it’s really not all that bad, but it’s most definitely cool to see one of his super early efforts.

Disc Three

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Do you mind if I power through this last disc? For as much as I like The Best of the Worst, my enthusiasm for this post is waning fast. Maybe it’s for the best, as in my opinion the last disc is the least interesting of the three. Still, there is entertainment to be had here, though in the interest of full disclosure, I haven’t ever seen the last two movies on this disc in their entirety, because frankly, I just don’t care. Does that cause me to lose my reviewer credentials? I don’t care about that, either.

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I first saw Unknown World on Son of Ghoul, and it’s less of a “really bad” movie and more of a “painfully dull” movie.

Having been made in the 1950s, nuclear war and whatnot was a particularly major concern, and here, some scientists have devised a tunneling device to burrow deep into the earth to escape said calamity, should it occur. They do just that, and then…nothing much happens. Well, things happen, but none of them are all that interesting. I mean, burrowing into the earth should provide just as much fodder as an outer space plot could, and yet, the movie completely misses the mark.

No, I don’t enjoy this one, not one bit.

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The Terror, a movie that I have tried multiple times to like. No kidding, I want to enjoy this one so much, and it just never, never happens. The saturated colors, Gothic scenery, and stars Boris Karloff AND Jack Nicholson (he’s probably pretty proud of this movie) seem like an absolute recipe for a good time, and yet, it just never does it for me. Furthermore, it’s a film I just can’t get away from. I have it so many times over on various budget movie DVDs/tapes/sets, and even recordings on both The Ghoul and Son of Ghoul, and still it only leaves me chilly frosty cold.

Set in the 1800s, Nicholson is a Napoleonic soldier (the role he was born to play!) that winds up at Karloff’s castle and right into a ghostly scenario. Karloff is being haunted by the ghost of a woman he killed, which in turn is under the control of a witch, and then some stuff happens and it ends.

Really, aside from a couple scenes of rotting corpses and a relatively graphic falcon (?) attack, there’s not a whole lot memorable about this one, and truth be told, I have a hard time following the plot. Rumor has it that this was made in only a couple of days, and, well, it shows.

Man I want to like this movie!

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Don’t get too excited, the title seems more lurid than the actual movie, though you’ll be pleased to know it stars Uncle Fester. Some crap about a scientist in Mexico creating animals from humans or humans from animals or I don’t even know. The movie is public domain, I don’t have to worry about providing a satisfactory summary. Here, go to Wikipedia and learn all about it!

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And finally, no bad movie collection would be complete without a contribution from Jerry Warren, and here it is. The quality looks like it comes from a VHS tape and some of the dialogue is unintelligible. It sounds like it’s a suckier version of Unknown World, though I refuse to take a closer look at the actual movie to back those claims up. Here, Wikipedia is yo’ frien’ again.

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I love this set. I really do. The mere sight of it fills me with joy. Yeah, it kinda runs out of steam for me by the end, but the concept alone is just so cool that I don’t really mind. It’s absolutely worth the couple of bucks it fetches wherever you may find it, so yeah, if it crosses your path, I’d say give it a go.

Hey, Mill Creek, how about a Volume 2? You’ve already got a guaranteed sale in me, and isn’t that what it’s really all about?

(Here is Mill Creek’s official website and here is the product page for this set.)

WJW TV-8 – Big Chuck & Lil’ John’s Pregame Show (September 20, 2003)

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Man, I used to tape a lot of stuff, so much so that it’s not uncommon for me to come across something I recorded myself back in the day and yet have NO recollection of ever doing so. (See: this post.) When it came to all of the crap things I taped, I like to think that I have a pretty good memory, but I’ve been genuinely surprised by what I recorded years ago enough times to realize that my mental synapses aren’t always untouchable when it comes to this sort of thing.

While this particular broadcast isn’t one I had completely and totally forgotten about capturing, I only retained the vaguest memories of taping it. For obvious reasons, I’m sure glad I did, though. Behold: from WJW 8, it’s Big Chuck & Lil John’s Saturday afternoon “Pregame Show,” from 2003. Has it really been 12 years since this first aired? I refuse to believe it’s been 12 years. I was 17 years old! A junior in high school!

Truth be told, I’m really not sure what drove me to record this. I was of course a full-fledged Big Chuck & Lil’ John fan by 2003, but, aside from a few scattered instances (such as the one seen in this post), I didn’t really tape their show(s) that often. Thanks to those aforementioned super-vague memories, I seem to recall there being something ostensibly special about this broadcast. Maybe I thought it would be a one-off kinda thing?

No matter, because I taped it, I saved it, and thus, here we are.

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Even though the branding is never used here, make no mistake, this is really an installment of Couch Potato Theater, Big Chuck & Lil’ John’s long-running Saturday afternoon showcase, which was always in addition to their regular late night program (they had moved to Saturday nights after MadTV by this point). The features shown during Couch Potato Theater varied from week-to-week; could be a movie, could be old comedy shorts, could be episodes of The Abbott And Costello Show. Or, as in this case, it could be just be skits.

As implied by the whole “Pregame” thing, this episode preceded baseball on WJW 8 that day (actually, it precedes a local special on football and an episode of Buffy The Vampire Slayer before the game, a difference of scheduling that is noted during the show). As such, it’s a half-hour show made up entirely of skits.

Actually, one thing I really like about this broadcast is just how much it reminds me of Big Chuck & Lil’ John’s current show: 30 minutes of skits with the occasional host segment. One major difference between now and then, besides the set and live audience of the old days I mean, is how ‘current’ they were back in the day; references and reminders of what was going on around Northeast Ohio, including where they would be appearing in person (indeed, as per an announcement from Chuck, they were appearing somewhere following this very episode), was a constant part of their hosting duties. Not so hard to understand, since they were (I’m guessing) in the studio quite a bit back then. It’s a much simpler affair nowadays, though anything that keeps Big Chuck & Lil’ John on the air is fine by me.

(Speaking of on the air: up until a few months ago, WJW was running Big Chuck & Lil’ John’s new show in a Saturday11:30 AM time slot, which reminded me even more of the old Couch Potato Theater days. They’ve since moved them to 11;30 PM, Sundays. I DVR the show no matter what, so the time change doesn’t impact me all that much, but I preferred Saturday mornings solely due to that nostalgia element it presented. There was just something about kicking off your Saturday with Chuck & John!)

Being only 30 minutes in length (or, if you want to be really anal, about 28 minutes; the next show didn’t start immediately after this one, dig?), I naturally don’t have a whole lot to work with here, even if I do find it incredibly cool and undeniably nostalgic. But, I’ll give it a shot.

First up, some of the skits themselves:

 

Muldoon’s Bar

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One of my all-time favorites, though I’m pretty sure it’s just a filmed version of an old joke. “Resident Irishman” Tom Bush plays Paddy, who every week or so enters Muldoon’s Bar for two shots of Irish whiskey: one for him, and one to drink for his brother back in Ireland (“To his health!”). One week, he stops at the bar, but only orders a single shot. The bartender is understandably concerned about Paddy’s brother back in Ireland, but when questioned, Paddy reveals the truth: his brother is fine, and in fact, the one shot he drinks is for him. So why not the second shot? Because Paddy gave up drinking for Lent! I love it!

 

The Amazing Stanley

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You can almost see where this one is going from the start. it’s the classic “sawing a woman in half” magic routine, which “The Amazing Stanley” performs to the satisfaction of the crowd. It’s only backstage that the “magic” of the illusion is seen: it’s been two little people curled up in the individual sections of the box! It’s a trip seeing John in high heels, and as per the host segment following the skit, the woman is played by John’s real-life sister.

 

Rockhead

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The Rockhead skits were never my favorites, though I think there were only a few of them. It’s a parody of Rocky, obviously. In this one, Rockhead is training for his big fight with “Alonzo,” while fake Adrian continuously nags him to give up boxing and instead take a steady job as a delivery boy for Rego’s Supermarket. Rockhead always gives the idea the brush off, until he disturbs Alonzo during his training; Alonzo angrily crashing through the wall is enough for Rockhead to immediately change his plans for the future. Fun fact: Chuck’s Rockhead wears a Ghoul sweatshirt throughout the entire skit!

 

Art Modell’s Back!

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Even though he passed away three years ago, Art Modell still isn’t the most popular guy in Northeast Ohio. But back in 2003, the hate for him was pretty venomous. He took away our Browns, man! This sketch plays into that sentiment. In it, Modell is seen talking on the phone and snickering; turns out Cleveland wants him back! We just couldn’t live without him! The pay-off to the skit is that he is indeed brought back to Cleveland…selling hot dogs! And to further insult him, he’s seen calling after people asking if the men’s toilets are backed up while holding up a plunger!

Obviously, there’s no way the real Art Modell was going to come back to Cleveland just to film a skit ragging on him. Instead, “Art” is either seen from behind or, using the same technology as Clutch Cargo and Conan O’Brien, with a pair of live-action, talking lips superimposed over a still image of his head.

It’s a very, very Cleveland sketch, needless to say.

 

The Certain Ethnic Artist

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Another really good one. Chuck’s classic Stash character is the “certain ethnic artist.” He’s seen painting a portrait of John, the results of which, well, you can see above.

Okay, so that does it for the skits themselves, but what about the host segments? I’m so used to Chuck & John only appearing intermittently during the new show that I had forgotten just how many there were back then; they follow every single skit! For the most part, I like the batch of skits seen in this episode, but as far as I’m concerned, the real heart lies in the host segments. Just seeing Chuck & John on that classic set takes me back like you wouldn’t believe.

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Did you notice the pizza box on the table in the host segment screencap way at the start of this post? That was your first clue that quite a bit of the host segments are dedicated to pitching Pizza Pan pizza (alliteration). Pizza Pan was a big sponsor of Big Chuck & Lil’ John at the time. The fellas even did a number of commercials for the company (I’ve got a few). Chuck & John make a point of showing off the pizza box and mentioning the company numerous times during the episode. This is borderline The Pizza Pan Big Chuck & Lil’ John Show!

The gimmick of Pizza Pan was this: order a pizza and have it delivered, you got an extra pizza free. Even better, order a pizza and pick it up yourself, you got two free pizzas! Obviously, a deal like that is going to attract some attention, and for a time, Pizza Pan was pretty ubiquitous in Northeast Ohio. I certainly partook of the ‘Pan more than once. Why? Chuck & John told me to. (Also, free pizza is always nice.)

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At one point during the show, the owner of Pizza Pan himself joins Chuck & John onstage to further promote the company. Not only is a special deal mentioned (free ribs when a pizza is ordered – at the Mentor location only), but also the then-recent expansion of the company to more areas. I wasn’t kidding, there was a time in the early-to-mid-2000s when Pizza Pan was a pretty big local chain.

And then, it just sort of seemed to fade away. I seem to recall, though don’t quote me on this because my memory isn’t that clear on the matter, that after awhile the free pizza deal was done away with. If that is indeed what happened, I guess I can understand it; the whole free pizza thing was what the company built its success on!

There are a few locations still around though. As to whether the free pizza deal was brought back or not, I couldn’t say (the official website seems to only give me the current locations and the ability to order online). Check the official website out to see if there’s one near you.

See, now I’m plugging Pizza Pan! Why? Chuck & John, man, Chuck & John.

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Finally, the pregame show ends with a mention of their feature for their normal, late night program: Rocky II! They both seem quite excited by this, not only because they had run the original Rocky the week before, but also because this is apparently the third good movie they’ve had in a row, though what entailed the third movie in that line-up isn’t stated.

Now is as good a time as any to mention that I love the old movie bumpers Big Chuck & Lil’ John used for their films. The Rocky II one above is a good example. There’s something just so right about them, though my nostalgia obviously plays a part in that feeling.

(By the way: I didn’t notate on the tape when this originally aired, but Bob “Hoolihan” Wells’ 70th birthday is mentioned as coming up on September 27th, and this episode followed my recording of Conan O’Brien’s 10th anniversary show and preceded Saturday Night Live‘s 29th season premiere. Those aired September 14th and October 4th, respectively, and with the help of this calendar, it pretty much has to be September 20, 2003. I can’t see a way that it’s not!)

Anyway, during these broadcast recaps, I usually look at some of the interesting (to me) commercials found during the respective airing. Being only half an hour, again, I’ve only got so much to work with, and frankly, there wasn’t a whole lot that stood out to me. BUT, there were two I couldn’t end the article without taking a quick look at:

 

Buddy’s Carpet Ad

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Buddy’s Carpet! At one time, it was pretty difficult to watch local TV in Northeast Ohio without seeing at least one Buddy’s Carpet ad. Initially, Buddy himself pitched the company in these commercials, though later on a woman (his daughter, I guess?) took over those duties. As evidenced above, this is one of those later commercials. No matter, because it still gives me a far bigger nostalgic charge than any carpet commercial has a right to.

Buddy’s Carpet is still around, though like Pizza Pan, it seems the locations are more limited now. Check them out here.

 

Regency Windows Ad

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I’m slightly embarrassed to admit that up until fairly recently, I didn’t realize I hadn’t seen a Regency Windows ad on TV in a long, long time. Just like Buddy’s Carpet, their commercials were nearly omnipresent on Northeast Ohio TV. Most of them featured owner and spokesman Mikey (that’s him above) screaming “I’m gonna save you a lotttttttta money!” This ad is (probably) one of the few where he doesn’t give his famous line, but he’s still there, and he’s still excitable, so it’s not a total loss.

Turns out Regency Windows closed some years ago, though what remained of the company was purchased by Window Nation. That official website is here.


 

For what is only a 30 minute recording, this one actually packs quite a nostalgic wallop for me. Besides the whole Big Chuck & Lil’ John Saturday afternoon thing (which is more than enough by itself), there’s also Pizza Pan, Buddy’s Carpet, Regency Windows (and more specifically, Regency’s Mikey), and of course, the skits.

Also, It’s amazing to realize that in 2003, in four years Chuck would retire and they’d be off the air entirely, but in less than 10 years, they’d be back hosting a show that is very reminiscent of this (and other, I’m sure) pregame episodes, a show which continues to this day. If there’s one thing I love about Northeast Ohio, it’s that more than once, our movie hosts have not gone quietly into the figurative night. One way or another, they find their way back!