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Episode Recap: The Son of Ghoul Show “Mr. Wise Guy” (March 6, 1999)

With Son of Ghoul’s big 31st anniversary show this weekend, and indeed, his actual 31st anniversary today right now yo, what say we take a look back at a vintage episode? I always like doing these. (My wi-fi currently hates me and wants me dead, so if I blaze through this, particularly in the second-half, that’s why.)

31 years is unbelievable for any television personality, but especially so when it’s the endangered-species known as “horror host.” Ironically, 31 almost seems a little, I don’t know, anti-climatic, I guess, after the massive hype that surrounded his big 30th last year. I certainly covered it, and was even present when SOG was fittingly honored at Monsterfestmania.

I thought of a couple different topics to post in honor of his 31st continuous year on Northeast Ohio television. I could’ve covered the earliest episode I taped (The Vampire Bat, in 1997), or his 12th anniversary show, or even the episode featuring the first piece of mail I ever sent in to him. I even briefly considered an article detailing a lot of the SOG memorabilia I’ve amassed over the years. I decided against each one of those, however, for a variety of reasons: I’ll save my earliest taped episode for the 20th anniversary of the broadcast this fall, I didn’t feel like covering Frankenstein’s Daughter during his 12th anniversary, and I’m not ready to detail my cringe worthy (yet nostalgic) first letter to him. As for an article focused on SOG memorabilia, I just couldn’t muster up the moxy to drag all that stuff out for a picture-taking session.

Nope, I decided on our subject today for one very simple reason: I just plain like the movie, 1942’s Mr. Wise Guy. Heck, I just plain like the episode in general, and to me that speaks more about my Son of Ghoul fandom than any ‘special’ occurrence I could dig up. After all, this was how the show usually was (is) to me each weekend: A fun, kick-back-and-chill movie showcase.

So, join me now as I detail The Son of Ghoul Show, as aired on WAOH TV-29 in Akron and WAX TV-35 in Cleveland (“The Cat”) and taped by yours truly waaaay back on March 6, 1999…

(Also, I’ve been on a real kick for The Cat lately, even more so than usual. This comes from that late-90s sweet-spot of the channel, so I’m happy with the choice. And, if that kick keeps up, I may dig something else out from the station to cover. You keep pushing me and I just might, pal.)

I vividly recall this being a surprise episode. Y’see, SOG was on twice-a-week at that point: 8-10 PM, Fridays and Saturdays, same episode. This was handy, because you could sample on Friday, and tape-as-needed on Saturday. But, for whatever reason, he was only on Saturday that week, a fact he briefly mentions in his intro (above).

I think (think) he was preempted totally the night before due to some women’s college basketball tournament The Cat was broadcasting/simulcasting/whatevercasting. So because he was only on Saturday that week, I couldn’t risk missing a must-have episode, especially with no knowledge of what the movie would be. Because said basketball tournament was concluding that Saturday, there was no telling when SOG’s show would actually begin; I had to start the VCR recording waaaaay ahead of time, which was why I wound up with like an hour of that stupid basketball game on the tape before the episode started.

This obsessiveness proved fortuitous. That night, we were at my aunt’s house for some party I was quite probably miserable at, and I flipped to The Cat to see what episode I was capturing. When it finally started and Mr. Wise Guy was revealed, I was pleased as punch. SOG had ran this film, I don’t know, a year or so prior, and I had regretted not capturing it then. I actually liked the movie!

And I wasn’t the only one; SOG himself mentions that he likes it as well during his intro. How often did (does) that happen?!

The reason I initially liked this film so much largely had to do with what it represented: A trip back to a more innocent time in cinema. This is pure, early-1940s matinee entertainment. It’s an East Side Kids (you know, the Bowery Boys, except not) film, so there’s some light hooliganism about, but even with that, an escaped convict, a murder, a death-row sentence, and a real-life war going on, it’s all so light and breezy that it never seems too heavy. I’m hesitant to ascribe the term “innocence” to a film that contains all that, but like I said, this is matinee entertainment; it’s not exactly a weighty, socially-conscious drama.

The idea of an East Side Kids film showing up on a horror hosted program may seem odd, but as SOG states during his intro, Ghoulardi himself used to run these (and fittingly, on Saturdays!). If these were good enough for Ghoulardi, they should be good enough for any other host, too. And somehow, to me they seem to ‘fit’ just fine. Maybe that’s because I grew up with SOG showing them occasionally (still does, in fact), but looked at objectively, they still work. It’s not like a b-western, which unless it shared some horror influence or other odd quirk (Terror of Tiny Town, anyone?), just wouldn’t seem to fit. Look, I can’t really adequately explain why it works so well, it just does.

And, in a trend that continues to this day, SOG doesn’t tamper with these kinds of films; no drop-ins, no sound effects. Just the movie straight. Evidently he has some real appreciation for these flicks, and we’re all the better for it. Even when missing those elements so well-known to SOG fans, it flows perfectly.

The title of the film comes from a moniker given to (and approved by) Leo Gorcey’s character “Muggs” McGinnis (first name: Ethelbert), who is deemed so several times throughout the picture.

The simple synopsis of the plot: The East Side Kids are sent to reform school. There’s a bit more to it than that, though. Unjustly accused of stealing a truck (a truck that, unbeknownst to them, houses an escaped convict), they’re sent to a reformatory run by a kind warden, a cruel guard, and a couple of troublesome inmates that are secretly in cahoots with aforementioned cruel guard. Also on the docket: Bill Collins, older brother of cast member Bobby Jordan’s Danny Collins, is accused of murder and sentenced to death row. Eventually these plotlines unbelievably though perhaps predictably, collide. And since this is from 1942, it all ends on a relatively happy note. ‘Cept for the dude who died, anyway.

Needless to say, much of this is played for laughs. Even while incarcerated, Gorcey’s gang never seems too concerned with their situation. Even as Danny frets over his brother’s predicament back in the real world, the other guys just sort of blow it off – which admittedly does play out a little strange. I can’t imagine that being realistic even back in ’42.

Still, as a whole, the movie is entertaining. Indeed, I wasn’t sure if I’d still get a kick out of it when I sat down to convert my VHS to DVD for this review, but it greatly held my attention throughout. I was even genuinely amused by certain moments, which can’t always be said of semi-comedies of this vintage.

Look, the movie is in the public domain, so don’t just take my word for it; check it out for yourself. Since SOG didn’t add any sound effects, you’ll see it (almost) as it aired here!

(Fun Fact: Some years ago at a thrift store, I stumbled upon a 3-VHS boxset of East Side Kids films. Included were both of their Bela Lugosi collaborations, Spooks Run Wild and Ghosts on the Loose, as well as the title that really spurred the eventual purchase: Mr. Wise Guy. I never watched any of them, don’t think I even played any of the tapes, and subsequently the set became buried in my mound of crap videos. It should still be around here, somewhere, which is good, because unknown to me at the time was that the company who put it out, Passport Productions, was spawned from the ashes of Amvest Video, who we’ve seen here before. Cool winnins!)

Unfortunately, the movie isn’t perfect, and it doesn’t have much to do with plot, but rather stereotypes that were prevalent at the time. Ernest Morrison, often known as “Sunshine Sammy,” is the victim of some unfortunate racial jokes, as his character “Scruno” is the outlet for some now-wildly-inappropriate stereotyping. Look, I don’t claim to be a super-PC-advocate, but man, even I was uncomfortable with some of the gags at his expense.

That said, I am an advocate of not editing things of this nature to reflect current social attitudes. Yes, some of the jokes have aged terribly, but they reflect the time in which the film was made; you can’t rewrite history, only learn from it. And besides, the jokes are incredibly dated, but never really mean-spirited, if that counts for anything.

And with all that said, we now come to the rest of the show…

The first skit proper is actually an old bit from the WOAC TV-67 days, and I love it because it perfectly sums up SOG’s sense of humor, which very often syncs up with mine.

In a parody of the whole “carrying the Olympic torch” thing, here SOG dutifully marches with a plunger triumphantly raised, only to enter the studio bathroom and begin plunging! That’s all there is to it, and it’s great!

Truth be told, SOG doesn’t feature heavily heavily into this episode. I mean, he does, he shows up after each commercial-break, but it’s not new bit after new bit after new bit. His hosting duties, while prominent, maybe aren’t quite as prominent as they usually were, and I think that has much to do with this spot right here.

In a segment that takes up a healthy chunk of running time, SOG and guest Carl Thompson speak extensively on the Frightvision convention, coming later that month. Yes, Frightivision, the SOG-hosted horror convention; we’ve talked about it before! Here, SOG and Thompson thoroughly go over the list of guests and events coming to the show, and it goes on for around 8 minutes, which is pretty much a lifetime in horror-show-time.

That’s not a complaint on my part, though; I could not be happier this segment is present! I talked more extensively on the convention in the piece I just linked to (another SOG episode, Plan 9 From Outer Space, which aired later that same month), but Frightvision was a BIG deal. It was also my very first horror convention of any kind. Long story short: I positively loved it. I got to meet Ben “Gill Man” Chapman, Mark “Lost in Space Guy” Goddard, SOG’s own Fidge (who was great), saw Tom Savini (but didn’t meet him until the following year), and came home with some very cool loot (including a vintage SOG TV-67 promo card, which I still have to this day). All of the fanaticism that manifests itself in me for each and every Ghoulardifest began at the very first Frightvision, and for that I hold the fondest of memories.

So yes, seeing the segment that so aptly demonstrates the swirling hype surrounding Frightvision in the weeks leading up to it, that’s the sort of thing that can take me directly back in time. And movie aside, to me this is the defining moment of this particular episode.

An email segment. More (!) information on Frightvision is presented, and a spider glove that apparently belonged to Fidge is shown. Unless y’all want me to go email by email, there’s not much more I can say about it.

I would love to show the old school, wildly obsolete SOG email address, back when having an email address was still semi-innovative, but in the interest of avoiding confusion, I’ll refrain.

In the second mail segment, the reading of letters devolves into a long, drawn out explosion of fake fart noises, which has SOG and his crew dying with laughter. SOG: “Can you tell we’re so easily amused here?” Like the toilet torch earlier in the show, it’s a juvenile, and therefore riotous, moment. This is the stuff that helped cement my sense of humor, gang. You want someone to blame? Blame SOG.

Because my wi-fi is in a seemingly-perpetual state of precariousness, there were two other bits amidst all this insanity that I’m choosing to skip. One, a “Captain Kanga-Ghoul,” and the other, an on-location interview at a liquor store that happened to be one of Frightvision’s sponsors, were fun, sorta-filler bits, but frankly, I don’t have all that much to say about them. Also, I’d like to punch my wi-fi in the face.

Also, here is the point where I’d usually look at interesting (or so I think) commercials that aired during an original broadcast. I’m going to skip that feature this time around. Why? Because basically all of the ones I would have chosen were already covered in that previously-linked Plan 9 From Outer Space SOG episode recap. And the other, a goofy homegrown promo for a showing of Reefer Madness, was briefly looked at in the The Cat article I linked to way at the start of this post. I love it when I do my own work for me!

It all works out though, because I can end this article in accordance with the way this show itself ends: As the outro opens, SOG is seen jokingly patting his phony beard back into place, along with a “We’re not done yet!”

But, it’s what he says right after that that sums up not only the conclusion to this particular episode, but also the continuing 31 year odyssey his show has been on: “They say you’re not done till the show’s over! Or until you’re out of toilet paper; then you’re done!” I think I can speak on the behalf of SOG’s many fans when I say I hope SOG never runs out of toilet paper.

Boy, that sounded so much more philosophical in my head.

Happy 31st anniversary, Son of Ghoul!

(PS – I’d be remiss if I didn’t link to my legendary, groundbreaking, earth-shattering, trendsetting interview with the man himself!)

(PPS – They may not have been able to repeat this year, but man, I still love the Cleveland Cavaliers. I’ll stick with you guys win or lose! Just thought I should mention that somewhere, since the loss is naturally still on the mind of so many Northeast Ohioans right now.)

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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!

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. Copying machines weren’t around for him to sit his derriere on yet, and he doesn’t seem like the witty-limerick-on-the-bathroom-wall kinda guy, which means that the only logical choice left is to create giant killer bats to carry out his revenge. I mean, duh!

Using electronic impulses or some crap 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 (one of whom is wonderfully nicknamed “One Shot”) 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 (One Shot, of course).

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 bitchy 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. Otherwise, I wouldn’t give it!

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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. 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. The big 5-0! 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 short, first commercial-break bit in which Froggy is caught looking through the dirty movies at B-Ware Video (he can’t find any with frogs in them), is then grabbed by Sick Eddie (who owned the store), thrown across the room, and then has the door closed on him – and I do mean on him. As Froggy skits go, it wasn’t one of the more elaborate ones, but then, any Froggy destruction is fine by me.

B-Ware Video was in Lakewood, a pretty far drive for me, and thus I only made it there once, for a Ghoul appearance in the Spring of 2000. The place was very impressive though, with a ton of rare, obscure movies for sale or rent – not the stuff you’d find on Best Buy’s shelves. It was fantastic. It was the kind of brick-and-mortar store that the internet, much to my chagrin, made obsolete in the following years (I *believe* B-Ware closed in ’05), but I’m certainly glad to have visited the establishment that one time.

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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, 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 didn’t know 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 (which means that, to be honest, I don’t really agree with the actual premise behind the “Soul of Ghoul” bits), 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.

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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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There was at least one more of these gag segments (that I can remember), and I think what I like most about them was that they were always played ‘straight,’ as if this were a serious interview.

“Teen Idol” David Crosby (it’s not really him) stops by The Ghoul’s set to catch up on matters. This time around, The Ghoul asks him about his being a, uh, “donor” to Melissa Etheridge. Crosby responds with something along the lines of “Well, I have an album called 4 Way Street, so I decided to go another way!” Ha!

His “kid” is then presented; she looks just like him! In fact, she got everything from him – everything but his liver, that is!

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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 Carl Carlson’s “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!

Amvest Video’s Grampa Presents VHS Series: 1942’s The Corpse Vanishes (1988)

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Last year, I started the new year off right with Superhost hosting Bela Lugosi in 1931’s Dracula. Now, I’m starting this year off right, with Al “Grampa” Lewis hosting Bela Lugosi in one of the films he was relegated to doing after Dracula, uh, typecast him somethin’ fierce. Do I know how to live or what!

Hopefully you’ll recall my last Halloween post, in which I looked at Amvest Video’s release of 1939’s The Human Monster as part of their “Grampa Presents” video series of 1988. There was a long line of these tapes, but none of them are all that easily found nowadays, which meant that I really wanted one, any one. I mean, Al “Grandpa Munster in all but official name” Lewis hosting a bunch of cheap, primarily public domain movies? I need that in my life as much as possible.

Fortunately for my video collection (though unfortunately for my wallet), the acquisition of that first tape touched off a severe wave of, well, I don’t want to say obsession, but somewhere around that description. I thought I’d be happy with one or two, but in the months since that initial article, my Grampa Presents collection has grown to include a nice chunk of titles from the series (plus one of the horror movie trailer compilations Lewis hosted for Amvest, which is obviously related but not quite part of the line). Not too shabby considering I only got my first tape in early October, I’d say!

(And truth be told, even ‘regular,’ non-Grampa-branded Amvest releases of these movies have proven to be an area of high interest to me. I’ve managed to gather up several of those, too.)

Much of this had to do with the fascinating backstory, or lack thereof, regarding the line: basically, no one is quite sure how many of these Grampa Presents tapes were actually released. There is a long list of titles attributed to it (which we’ll get to in a bit), but only a portion of those have been confirmed to, you know, exist. Some of them pop up from time-to-time online, but then there’s others that have been confirmed but almost never show up. Even though I’ve managed to acquire a bunch of these tapes since that first one in October, I still stand by my statement in the earlier post that they range from “highly obscure” to “impossibly rare.” And those are just the ones I/we know about!

Anyway, needless to say, the saga continues now, with one of the titles in the series that’s on the easier end of the spectrum to find (relatively speaking), but was nevertheless one of my personal chasers…

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Bela Lugosi’s 1942 poverty row opus, The Corpse Vanishes. Cool winnins!

If you’ve read that Halloween post, you’ll know there were some problems with that first tape: namely, it was recorded in the wrong speed. Thus, the tape ran out out before the movie was over! This hurt me deep, but not as much as it would have had it been a movie I cared more for. I’ve never been big on The Human Monster (aka Dark Eyes of London), but The Corpse Vanishes is a different story; I’ve been fond of the film ever since first seeing it on Son of Ghoul waaay back in 1997 (one of my very first episodes – I had only begun watching Son of Ghoul a few weeks prior).

Because I actually like the movie, your Northeast Ohio Video Hunter was going to be exponentially more irked if there was something wrong with this tape. I’ll say upfront that all is well as far as that is concerned. It played from start to finish without incident, and given the EP recording speed, the picture quality wasn’t exceptional but certainly passable. Considering these videos were strictly budget affairs the whole way around, I was pleasantly surprised.

(Over the course of amassing these titles, and even the non-Grampa-hosted Amvest releases, I’ve learned a lot about the ups-and-downs of them. Indeed, thanks to how much more I know about all of this now, this is probably going to end up being the article I wanted to write last time. I know I’ll end up repeating a few things I said the first time around, so please bear with me.)

The cover art, though simplistic, is appealing. If you go and search out other images of the Grampa Presents line, you’ll see that the artwork can vary wildly from release to release. Some tapes use the original movie posters as a template, some (such as this one) use a real photograph, and others use hand drawn original artwork that can range from okay to, well, lets just say the hand drawn stuff sometimes isn’t the best. Make no mistake though, even the goofier-looking ones I love; these things have charm to spare!

As for this The Corpse Vanishes, like I said, it’s simplistic, but overall still very cool. The Bela image is appropriate, and the red and gray color scheme is attractive…

…Aw, who am I kidding? It’s all about the Grampa banner at the top. It totally takes the cover from “competent” to “I should probably have a poster of it made for my bedroom wall.” I’m seriously considering printing out copies of that “Grampa Presents” header and fixing them to some of my favorite tapes just to make them look better. “Grampa Presents: The Giant Spider Invasion.” “Grampa Presents: The Creeping Terror.” “Grampa Presents: M*A*S*H – Goodbye, Farewell and Amen.The possibilities are endless!

I should be getting a million dollars a week for these brilliant ideas.

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For as good as the front covers (can) look, the back covers are always pretty plain. Indeed, before you actually put the tape in the VCR, that’s where the budget roots of the video are first evident (unless you got one of those particularly cheesy-covered ones, in which case, that’s where the budget roots are first evident). Not that that bothers me in the slightest; budget tape charm and all that.

As far as the movie synopsis goes, it’s not exactly comprehensive or anything, but the one used here for The Corpse Vanishes isn’t quite as perfunctory as the descriptions on these tapes can be. Okay, it’s a straight two paragraphs without any frills, but hey, I’ve seen worse.

‘Course, it’s totally the “Grampa’s Ratings” feature that makes the back cover: three bats and the declaration of “GHOULISH GREAT!” AND it’s topped off with (ostensibly) Al Lewis’ personal signature to let you, the video consumer, know that this has his personal guarantee of quality. That’s awesome.

No kidding, for old public domain flicks like this, there were (and are!) untold multitudes of releases. So, something, anything that could make one particular version stand out from the rest could make the difference between an eventual purchase or continued shelf languishing. And you know, I think that’s another one of the things that I find so appealing about these releases; sure, there are countless ‘normal’ copies out there, but when you’ve got the option to watch the movie with Al Lewis bookends, well, why not take it? Sure, you may have to contend with some tracking issues, and no, the print used for the film won’t be Criterion Collection quality, but the ‘spooky horror hosted’ vibes of the tape easily makes up for all of that.

Also, I totally just thought of “Grampa Presents: Godzilla Vs. The Smog Monster.Man that would that be awesome. I should be getting two million dollars a week for these brilliant ideas.

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There’s the cute lil’ tape itself. If you go back to my first Grampa Presents post, you’ll see the difference in the tape casing and reels. The Human Monster was in a more standard case but with thick, white, mega-cheap wheels. This one however uses more standard reels and a casing akin to the kind Memorex used for their late-1980s/early-1990s blank VHS tapes. (Not so unusual there; I’ve seen copies of Batman ’89 with the same casing.) Unlike The Human Monster‘s LP recording, The Corpse Vanishes is, as I said, in EP/SLP.

That anal-retentive description above isn’t just me being particularly pretentious; I do actually have a point to make. And that is: I’ve come to learn that there just isn’t any rhyme or reason to any of this. I’ve got a nice cache of individual Grampa titles, as well as several ‘plain’ Amvest titles, but there’s almost no standard formula to any them. Casings and reels vary between them, and more importantly, so do recording speeds. The majority were recorded in EP or LP, though there are some SP tapes out there, Grampa Presents included (of which I have three). As far as the Grampa versions go, the SP tapes seem to usually have a sticker of some sort on the back stating the fact (like this one), but EP and LP tapes have no such distinction. If you want to know before actually playing the tape, you generally have to look at the reels themselves (and with tapes that have larger wheels inside, that can sometimes be difficult), or gauging the weight of the tape itself (general rule of thumb: the heavier, the better).

Something else you need to be on the lookout for: Grampa’s host segments aren’t necessarily on each and every one. Yep, despite the appropriate “dis got Grampa” packaging, some tapes only feature him on the sleeve; the movie itself doesn’t feature the Al Lewis bookends. Four of my tapes demonstrate all the pomp and circumstance of Grampa, but he’s nowhere to be found on the actual recording (and three of those four are the aforementioned SP-recorded ones, so maybe those were later issues of some sort?).

Since both Grampa and non-Grampa releases of the same movie share identical catalog numbers, and because there’s nothing that singles out one version or the other on the actual label affixed to the tape itself, it’s certainly possible that opposing editions could accidentally be thrown into the opposite box, or maybe even as a substitute when they ran out of the ‘appropriate’ version? I’m just spit-balling here.

Or maybe, and this is just another hypothesis on my part, they didn’t want to pay licensing fees for Grampa’s filmed segments anymore (provided there were licensing fees; I don’t pretend to know how this all initially went down), and began intentionally leaving the host segments off of later tape runs, but kept paying to use his image on the cover for the “name” factor? Remember, the sleeve promises us Grampa’s guarantee, but it never actually says he’s going to be hosting the movie. Maybe Amvest eventually decided to go the Gene Shalit route?

BUT WAIT! Conversely, my Amvest copies of First Spaceship On Venus and Missile To The Moon are plain, no Grampa on the artwork, and yet, his host segments are included on the actual tapes! Surprise cool winnins! So theoretically, any Amvest, supposedly-non-Grampa release from 1988 under their “Vintage Video” subsidiary (which goes back to at least 1985, but those are more reminiscent of the Goodtimes tapes in cover-style from the period, and pre-date the Grampa Presents series by three years anyway) could conceivably be unmarked Grampa titles!

Like I said, there’s no rhyme or reason to any of it. Just when I think I’ve got a handle on matters, something comes along that makes me rethink everything I thought I knew beforehand. I’ve had my preconceived notions, and time and again they were dashed.

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Lucky for me, The Corpse Vanishes does indeed include the Al Lewis intro and outro. This is a good thing, because I can easily see this movie as-is any number of ways, and if watching it via a cheapie VHS from the 1980s is the way I wanna go, there are plenty of options available there, too. All it takes is a quick run through eBay and a couple of bucks in my pocket. (Though after getting all these Grampa videos, the latter is decidedly tougher than the former!)

But by now, it’s pretty obvious to anyone taking even a cursory glance at this blog that I prefer my horror movies, uh, horror hosted. Oh sure, I love ’em straight too, but having grown up with all of the Northeast Ohio movie hosts (as well as the enduring fondness for the local hosts before my time, i.e. Ghoulardi), I have a strong affinity for anyone dressing up in cheesy/spooky garb and throwing out hackneyed puns. These movies are just so much more fun that way, at least to me. Plus, it’s an aspect of television broadcasting that has largely (but not completely) fallen by the wayside, making it all doubly-interesting to me.

Needless to say, horror hosting had its roots in television, but by the late-1980s, when home video had not only become entrenched as a de facto part of any well-rounded entertainment center but had also progressed to the point where it was actually feasible to have budget tapes such as this, the genre also found a place on home video. I.V.E.’s Thriller Video spearheaded the concept three years prior with their Elvira-hosted tape series (which we’ve seen here before), and in some ways (I also said this in that Halloween post), Amvest’s Grampa series feels like a more cut-rate version of those Elvira tapes.

Al Lewis’ Grampa was a natural fit for hosting horror and science fiction films, and a year before he started this Amvest series, he began hosting movies for TBS’ Super Scary Saturday, which we’ve seen here before, too. The Amvest Grampa Presents series was quite a bit lower-budget than the TBS show; these segments were shot in front of a green screen, with Grampa superimposed over still-images.

The very beginning of this intro, I hope you’ll recall, I didn’t get to see last time; the start of that tape was basically “in progress,” and by the time the tracking and whatnot had settled to a watchable state, Grampa was already into his pitch. Luckily, it’s all complete on The Corpse Vanishes, though the program starts playing early enough that tracking is still a bit of an issue.

So what did I miss the first time around? Not that much; shots from, I’m pretty sure, White Zombie open the whole thing. Then a two-framed, single-colored bat flies on-screen, neon lightning bolts hit it (to signify transformation, though it doesn’t make much sense when you think about it), and then, there’s Grampa! That’s right, the tape posits that Al Lewis has the power to transform into a cartoon bat at will. That…is pretty fantastic.

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For the Amvest tapes that actually include the Grampa footage on them, these host segments are the same for each and every one. What, you thought Lewis was gonna film a unique intro and outro for each and every title? Nope!

So, after that whole bat-transformation thing (and a few token movie clips, ostensibly from other films in the series), the scene then shifts to a Dr, Frankenstein-like lab. This is where the tape we looked at last time essentially began. It’s basically Al Lewis being Al Lewis; he had his shtick down to a science by that point. So, when he’s forced to banter with an off-screen “Igor” or explain to the audience that he’s not Paul Newman (apparently, people get them confused!), it actually does come off pretty funny. It would have been easy for this all to come off flat, awkward, forced, or what have you, but Lewis is so sincere and energetic that you can’t help but get a kick out of the whole thing.

I love the backdrop for this part of the intro: like I said, it looks like Frankenstein’s lab, albeit a still of said lab, and it’s accented by random neon-squigglies, which, you know, 1988 and all that.

There is one thing different for the respective intro of each tape: at one point during the opening segment, there’s a space where a voiceover (“Igor”) announces the title of the movie and who stars in it, all while Lewis looks on expectantly. ‘Course, sometimes (many times!) they forgot to add the voiceover, which means Lewis exclaims “that’s the one!” to absolutely nothing, which is actually pretty funny, albeit unintentionally (I said the same thing when I reviewed the Human Monster tape, and the trend continues not only on this one, but on several other Grampa tapes I have).

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And that brings us to the movie itself: 1942’s The Corpse Vanishes. I really, really like this movie. Like I said earlier, this tape was one of my personal chasers in the series, and it was basically because of how fond I am of The Corpse Vanishes.

This is one of the poverty row, cheapie horror films that Bela Lugosi was increasingly relegated to doing as the 1930s wound down and the 1940s began. Sure, he still had ‘big’ pictures now and then (1939’s Son of Frankenstein, 1941’s The Wolf Man, etc.), but his output was becoming increasingly less glitzy. I mean, by the last decade of his life, he was starring in Ed Wood movies, which were the very antithesis of glitzy!

It was all a double-edged sword; sure, films like this kept Bela working and in the public eye, but for a performer that started out as a star of big-time, A-list films, it had to sting.

That said, regardless of the source material, Bela was still magnetic. You can’t help but be entertained by the guy. It’s no exaggeration to say that he saved even the least of these films all by himself; a star of lesser magnitude probably wouldn’t have been able to pull it off. It’s the same deal with Boris Karloff and Lon Chaney Jr.; if their names are on something, it’s worth at least a quick look, because they were that good.

Furthermore, many of these low-rent Bela flicks have lapsed into the public domain. The Corpse Vanishes, obviously, but also others (like The Devil Bat and The Ape Man). The good news there is that, back in the day and today as well, there’s always something with Lugosi’s name on it out there on store shelves. Make no mistake, Bela is still a name draw. Sure, these public domain films (with the possible exception of White Zombie) aren’t really the definitive way to introduce someone (or yourself!) to Lugosi’s work, but they’re cheap and readily available, and if nothing else, like I said before, the guy had a magnetism about him that carried even the weakest films in his canon.

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As for The Corpse Vanishes itself, no one will ever claim it to be among Bela’s finest work, but taken for what it is (a wartime, poverty row horror film), it’s definitely an entertaining watch. It’s so simple, quaint, and despite the plot of a mad botanist killing virginal brides, somehow innocent. It almost seems like the kind of movie that could have only come out in the 1940s, with all of the ‘big’ Universal horror flicks of the previous decade to take inspiration from, and all of the sci-fi stuff of the 1950s yet to come. Sure, it’s something that probably could have been made in the 1930s, but it just feels so 1942.

The plot, yeah, it’ll sound like fairly formula stuff. And you know, it is. I’d never argue otherwise. But again, taken for what it is, it’s still fun. Lugosi plays a mad scientist (gee, you don’t say!), one Dr. Lorenz, who has a shrewish, aging wife. Wifey wants to stay young and beautiful forever, so Lorenz concocts a plan wherein he’ll poison the orchids sent to brides on their wedding day. When they collapse from said poison (and appear dead, though they’re really not), he kidnaps the body and takes it back to his lab (hence, “The Corpse Vanishes”). Once back at the lab, he extracts vital fluids from the bride and then injects them into his wife, which temporarily renews her youth.

It’s a scheme that has any number of holes in it (and it doesn’t take much for the viewer to realize that, either), but Lorenz goes ahead with the plan anyway. Eventually, this all attracts the attention of journalist Patricia Hunter, who is eager to get a story out of the deal, and sets off to get to the bottom of things…

Look, you don’t have to rely solely on my word for any of this; this film has been in the public domain for years, so check it out for yourself here. It’s only a little over an hour long, so have at it next time your favorite prime time drama is in reruns!

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Despite the inherent cheapness of the film, it still manages to pull off some pretty cool scenes. I mean, geez, Bela and his wife sleep in coffins! With movies like this, where the budget is obviously on the really cheap side, the idea of the baddies nappin’ in coffins is a good, simple way to get the creep factor going, even though it’s become a pretty common trope. Heck, it was probably a common trope back then.

But, in that small way, the movie even more recalls 1931’s Dracula, and that can never be a bad thing when Lugosi is in the vicinity (even if it does plays into that typecasting that hurt his career so much).

They sleep in coffins, man!

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Another cool aspect: Bela’s basement laboratory.

I really like Bela’s mad scientist lab. It’s not especially expansive, and it’s clearly limited by Monogram’s $5 budget, but at the same time, it’s so sincere. The very presence of a cut-rate lab just adds volumes to the film, though I’d be hard pressed to really explain why. Just seems more ‘complete’ that way, I guess?

Bela’s got a cool lab, man!

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Oddly enough, the ending card is rendered as a still-frame, complete with the dust and whatnot frozen in it, all while the music continues to play. I’m not sure if Amvest themselves did that, or if that’s how it came to them. The who and why of this I couldn’t say, but it’s a little strange.

In addition to countless budget videotape releases such as this one, The Corpse Vanishes was also the subject of an early episode of Mystery Science Theater 3000, which is probably how many people recognize the film nowadays. Being one of the first episodes of the national iteration of the series, it’s not one of their stronger efforts, though things always go better with MST3K.

‘Course, things always go better with Al “Grampa” Lewis, too…

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Which brings us to the part I was totally begrudged the first time around: Grampa’s outro segment. Like his intro, these were always the same for each tape.

Playing off his whole “comical undead vampire” act, the first thing he says once returning from the movie is “Oooh, that was so scary, it scared the blood right back into my veins!The Corpse Vanishes is many things, but by 1988, I really can’t see too many people finding it genuinely frightening. Was it even that scary back in ’42? Anyway, Grampa then follows that statement up with “Blood and gore, that’s my meat and potatoes!” That applies even less to The Corpse Vanishes, but the dialog absolutely adds to the atmosphere and general theme of the tapes nevertheless.

Plus, the outro segment was the same for every movie presented in the line, so what can you really expect in the way of accuracy?

That said, given the jokey Grampa open and close to the tapes, and most of the titles in the series, much of it is (well, was) pretty safe for the kids to watch. I made this comment last time, but it seems like these tapes would make good TV viewing for those that were too young for trick-or-treating but still wanted a Halloween experience.

Well, most of the movies fit that bill, anyway…

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This is the part I was pretty bummed about not having on my first Grampa Presents tape: after coming back from the movie and goofing around for a bit, Lewis then presents a “complete” list of titles in the Grampa Presents line!

This is important, because this is the only solid listing we have (that I know of anyway) for the Grampa Presents titles. Now, it’s highly doubtful that all of these were released with the Grampa branding; some of these were released by Amvest back in 1985, though with the same catalog numbers as given here. My guess is that all of these movies were, at some point, released by Amvest, but not all of them featured Grampa.

I make that distinction because Lewis himself says that each and every one will be presented by him, which, I’ve got four releases (Monster From Green Hell, Giant From The Unknown, The Living Head, and The Last Woman On Earth) that have him on the cover but not actually hosting. But then, I also have two that don’t mention him on the cover but he does host (the aforementioned First Spaceship On Venus and Missile To The Moon). I said it before, I’ll say it again: there’s just no rhyme or reason to any of this.

Throughout the scroll, Lewis speaks via voiceover, making generic comments such as “Ooh, I remember that one!” When he’s not being generally excited over the offerings, he’s yelling at the unseen (and unheard) Igor about his eating habits; apparently, Igor refuses to learn how to use a knife, fork and spoon.

I said before that this shtick was funny rather than awkward. Mostly, it is. However, for this spot, it’s clearly just filling time. I mean, it makes sense; it was either have Lewis babble in the background or have dead silence as the titles scroll, I get it, but yeah, his dialog here is amusing but pretty much just filler.

The list of titles consists mostly of standard public domain stuff: The Little Shop Of Horrors, The Terror, and so on. But, there are some really surprising offerings, too. Alice, Sweet Alice and The Incredible Two-Headed Transplant are there, and those are both confirmed to have actually been released. (They’re also definitely NOT for kids!) And, there’s a few that haven’t been confirmed to have been released as part of the Grampa Presents series (that I know of) but MAN I hope they were; namely, Night Of The Living Dead, Godzilla Vs. Megalon and Vampyr. You have no idea how badly I’d flip if I stumbled across any one of those three at a thrift store.

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After the scroll finishes, Lewis then goes into where you can actually buy these tapes. You need to look for the tapes with his face, which as we’ve seen, wasn’t quite true, though I doubt Lewis knew that while filming. (In an argument with the still unseen and unheard Igor: “Forget Tom Selleck with the mustache and everything! MY face and the official ratings are on the box!” That’s right, Al “Grampa” Lewis just referenced Magnum while pitching horror movies – now THAT is awesome!)

What’s more, there was a specific Amvest “Casket of Horrors” display for video stores; how cool is that! Given the rarity of most Amvest tapes nowadays (both with and without Grampa on ’em), distribution was almost certainly very limited. I’d like to say for every 20 online listings for a similar title from Goodtimes, there’s only 1 for an Amvest, but even that wouldn’t be true; Amvest tapes are generally few and far between.

Therefore, I can’t imagine too many of these “Casket of Horrors” displays making it out there, and even less surviving to this day. Who knows if any were even produced beyond the one seen in this outro. Nevertheless, it goes without saying that I. NOW. NEED. ONE. Coolest Halloween party decoration ever!

As far as I’m concerned, it just doesn’t get much cooler than the image above. That screencap succinctly sums (allitration) up everything that is right with these tapes and the whole horror movie ideal that they present so vividly. Would it be wrong for me to create posters of that image above and hang them all around my house? Because I’m coming dangerously close to doing just that.

Well, maybe just one to hang up somewhere…

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AND, if you couldn’t find one or any of these tapes in an actual brick-and-mortar store (and odds are most people couldn’t), Grampa gives you the details on how to order direct from Amvest! And even with ordering direct from the company, these were budget affairs; $13 was a pretty cheap price for a VHS tape in ’88. Granted, you wouldn’t be getting something on par with a, say, CBS/FOX release, but still…

Rahway is pronounced “Raw Way,” to which Grampa takes particular delight. “These are our people! That’s the way we like it – raw!” I’ll let you make up your own mind regarding that bit of dialog.

I wonder what happened if/when someone ordered a tape that didn’t actually exist as a Grampa version? Refund? Replacement? Given that this info is shown right after the list of videos supposedly available, while I don’t think each and every title had a respective Grampa Presents version, my guess would be that, at the very least, the person ordering would get a non-Grampa edition. Like I said before, I suspect there were Amvest releases for all or most of these, but which ones were released with some form of Al Lewis involvement is the big question here. I don’t know, and it seems nobody else really does, either.

Anyway, keeping up the act to the very end, Grampa admits that the 4 to 6 weeks delivery time is due to the bats in your neighborhood not flying that fast. Yeah, Al Lewis posits that your tape would be delivered by a bat. How can you not like the guy when he says things like that?

Grampa’s final pitch? Go out and buy Amvest videos, because if you don’t, one night when it’s dark and you think you’re alone, you won’t be – he’ll be there. He then bursts into that famous Grampa laugh as the screen fades out and then into the final image of the tape:

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As a final touch, the copyright info contains computer-generated blood steadily dripping down the screen! And to make things complete, ‘spooky’ music plays in the background! Very, very cool!

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The Corpse Vanishes is public domain, and thus, there is no shortage of varying releases. Mystery Science Theater 3000, Son of Ghoul, any number of other horror hosts out there, any number of cheapo DVDs out there, free and clear online downloads, there are countless options available to you. It’s not even remotely hard to find a copy of this movie.

But, if you want to watch the film in a way that only the late-1980s video era could present, Amvest’s release of the movie via the “Grampa Presents” line of tapes is the best way to go. It’s not perfect, it’s not a restored print of the film or anything like that, but as far as sheer coolness goes, it’s hard to beat. This is a perfect slice of late-1980s budget VHS memorabilia, one that I am absolutely thrilled to have in my collection.

Will I ever do another post on one of these tapes? Well, probably not. Maybe if/when I get the ever-elusive Grampa Presents version of 1922’s Nosferatu, or a previously ‘unknown’ release, but otherwise, I’d just be saying the same things about the Al Lewis segments over and over, with only the movie review portion changing. I mean, you never know, but as of right now, I’m pretty happy with this one as my final word on matters.

I’ve actually wound up gaining a real respect for Amvest. They had a real quirky sensibility, and as these Grampa tapes prove, they occasionally went out of the usual budget video “domain” and did their own thing. When I started collecting these (only a few months ago), I never thought I’d feel that way.

Furthermore, in whatever small way I may have helped unravel some of the questions regarding these Grampa Presents tapes, even through the confusion and disappointments, I enjoyed progressively learning more and more about them. There just aren’t many companies and their associated video releases that I can say that about.

And needless to say, I still want more of these! The search will continue! I won’t rest until I can fill an entire shelf with Al Lewis-hosted cinema!


Hey, wait, hold up! We’re not quite done yet!

I’d be remiss if I didn’t include the entire list of Grampa Presents titles as given during the end segment of this tape! Besides numbering them and correcting a few grammatical errors, I have also gone ahead and listed the titles that are actually confirmed as being released as part of the Grampa Presents series. Besides what I personally own, I am citing The VCR from Heck (these two pages specifically), VHSCollector.com (this page in particular), the Mike’s VHS Collection page over at Cinemasscre, as well as various online sales I have personally seen. Also, here’s a specific thread on the subject over at the Our Favorite Horror Hosts forum. (And yes, I plan to share what I’ve learned there as soon as this page goes up!) Please check out those sites once you’re done here; there’s a wealth of information not only on these Grampa Presents tapes, but on so many other subjects, as well.

Keep in mind that while this is the complete list of titles as given on this tape, the ones marked as “confirmed” are by no means the final say on the matter. These are just the ones that *I* am aware of. If you know of or even own one that hasn’t been confirmed as existing, hey, speak up in the comments! (Pictures would be helpful, too!)

And of course, the possibility exists that this actually isn’t the complete list of titles; there may well have been further videos released that included the host segments or appropriate packaging. I have no evidence of anything like that ever happening, every title I’ve found or seen has corresponded appropriately to this list, but hey, you never know!

(* = Indicates that I personally own a copy of that title, and thus I know for sure it was released by Amvest in some form at some point. [Confirmed] = Indicates this title was indeed released as part of the Grampa Presents series, either with him on the tape itself, on the packaging, or both. If Al Lewis is present in or on the tape in any way, I’m considering it officially released as part of the series.)

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

———————
Special Compilations:

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

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

bclj pre 1

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.

bclj pre 2

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, the skits themselves:

Muldoon’s Bar

bclj pre 4

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

bclj pre 5

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

bclj pre 6

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!

bclj pre 8

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.

 

$10 Magic Wands

bclj pre 9

A pretty well-known skit. A sidewalk salesman tries to sucker John’s character into buying a magic wand for the low, low price of $10. The prospective customer is apprehensive until he sees the magic wand instantaneously produce a beautiful girl right before his very eyes! He quickly buys a wand, and the salesman sneaks off. The Purchaser’s attempt at using the wand produces a woman alright, albeit one of a rather more robust variety, who then proceeds chase him around as the skit ends.

 

Madame Mary

bclj pre 10

Another skit I’m pretty sure is just a filmed version of an old joke. In fact, I know it is; variations of the gag are really pretty common. In this version, an old man goes to visit fortune teller “Madame Mary,” and asks her if there is pro football in Heaven. The good news? Yes, there is indeed pro football in heaven. The bad news? He has box seats for the next game!

 

Ben Crazy

bclj pre 14

A classic. The Ben Crazy skits are always welcome, and this is a particularly good entry. The scene opens on a group of doctors drawing lots. One Dr. White wins, much to the chagrin of everyone else. He then enters a hospital room and informs a “Ms. Goodbody” that it’s time for her morning shot. Obviously, this is not a shot in the arm! So that’s why they were drawing lots!

 

The Certain Ethnic Artist

bclj pre 15

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.

bclj pre 3

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.)

bclj pre 13

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.

bclj pre 16

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!

Mystery Science Theater 3000’s Final Sci-Fi Channel Broadcast (January 31, 2004)

mst3k final ep 1

(Caution: this is an article by an MSTie, so beware of some “technical” jargon y’all non-MSTies might not understand.)

Well lookee what your Northeast Ohio Video Hunter dids dones did dugged up! While going through boxes of tapes, I came across the VHS recording I made of Mystery Science Theater 3000‘s final Sci-Fi Channel broadcast, waaaaay back in 2004 (January 31, to be exact). The episode? 912 – The Screaming Skull (with the Gumby short Robot Rumpus). The time? Saturday morning, 9 AM. The feeling? Well, kinda downbeat, honestly. For as good as this episode was/is, it couldn’t quite overcome the feeling that something special was passing by.

By 2004, I had long captured, on good ol’ VHS, all of the remaining episodes that Sci-Fi could legally air (except for a Blood Waters Of Dr. Z re-broadcast – of course the VCR died for that one), which naturally already included episode 912. This, this broadcast, however, it didn’t really matter what the actual episode was; this was all about partaking in the last Mystery Science Theater 3000 on actual television for the foreseeable future. As it turned out, it would be back in about 10 years, but of course no one knew that at the time. There had been so many rights issues with the movies featured on the show over the years that, for all anyone knew, this was it. ‘Course, we still had the official DVD releases, and the tape trading circles, but even to this day there’s just something about actually tuning in to MST3K that feels so right. At least, that’s how I feel about it; your mileage may vary.

I explained this all a bit better in that older post I linked to, but long story short: I began watching the show when it moved to the Sci-Fi Channel 1997, and by the summer, I was a die-hard MSTie, which I obviously remain to this day. At the time, you needed a cable box to access Sci-Fi, and unfortunately, my dad decided he didn’t want to spend the extra bucks for the box anymore. Thus, that began a period of living with what I had already recorded, getting others to record episodes for me, and the official VHS releases that were trickling out.

That is, until early 2002, when I discovered Sci-Fi had been added to the basic cable line-up. Thanks to Satellite News’ helpful schedule archives, I can pinpoint when exactly I was able to finally see the show on real TV again (via a nearby relative’s house, because at that point we didn’t even have basic cable): February 23, 2002, episode 911- Devil Fish. I was elated (though it figures that the episode largely responsible for turning me into an MSTie, 811 – Parts: The Clonus Horror, had what turned out to be its last Sci-Fi airing about a month prior – just missed it!).

It was a ‘reunion’ that lasted nearly 2 years, and it all came to an end with this one last broadcast.

mst3k final ep 2

Honestly, I can’t believe it’s been over 10 years since this aired. 2004 just does not seem that long ago! I was a junior in high school!

It’s important to note that this wasn’t the actual series finale of Mystery Science Theater 3000; that happened back in 1999, with episode 1013 – Diabolik (though thanks to a rights snafu, episode 1003 – Merlin’s Shop Of Mystical Wonders wound up airing first-run about a month after said series finale, giving heartbroken MSTies one last bit of shiny new freshness). Rather, this was the last episode ever broadcast on the Sci-Fi Channel.

Y’see, after the show finished with new episodes in 1999, it went into endless repeats on Sci-Fi, eventually languishing in a Saturday morning time slot where it would remain for the rest of its time on the channel. Advertising had long, long stopped being run for MST3K, so outside of the fan circles, it was just kind of ‘there,’ treated no better than Saturday morning filler. We MSTies knew better, though; unbeknownst to most, this was the way to kick off your Saturday.

So, after two whole cable channels and having run since 1989 (technically, three channels since 1988, for you lucky Minnesotans who got to watch the series start on the local independent station KTMA TV-23), it all came down to this one last broadcast on January 31, 2004. Well, until Retro TV picked the series up 10 years later, anyway.

"Robot Rump?!" - Servo

“Robot Rump?! Oh…” – Servo

Here’s the deal with episodes of this series: they can be very, very subjective. Because opinions on movies and humor can vary so greatly from person to person, there’s always going to be someone who loves a certain episode to death, while someone else will hate it with a passion. From my viewpoint, 912 is a very good episode. Maybe not a start-to-finish smash, but mostly good host segments, fantastic riffing on the short, and a solid take on the movie. There are undoubtedly people out there that will disagree with that assessment, and hey, that’s cool, too.

912 may not be the all-out, blaze-of-glory episode many would have preferred for the final Sci-Fi broadcast, but it is a solid, enjoyable from start-to-finish episode, which seems just as fitting to me. Maybe because it’s so representative of MST3K as it often was: maybe not every riff connected throughout, but the episode was overall consistently funny nevertheless. I wasn’t kidding a bit ago, by 2004 there really was no better way to start your Saturday.

The one aspect of this episode that most fans seem to agree about: the short film preceding the movie is phenomenal. The shorts were a rarity during the Sci-Fi-era, there were only three of ’em total, but man, quality over quantity. Of the three, I easily give the edge to this one, the Gumby epic Robot Rumpus. This might as well have been made for MST3K, because it fits like a glove.

"It's a fair-to-partly cottony day." - Crow

“It’s a fair-to-partly cottony day.” – Crow

Truthfully, there are some shorts in the MST3K canon that no longer have me rolling the way they did the first few times I watched them; Chicken Of Tomorrow (from 702 – The Brute Man) used to be one of my favorites, but after the last few viewings, well, it has left me a bit cold. Robot Rumpus, on the other hand, I’ve seen this one so many times that by this point I’m fairly certain I’m never going to get tired of it. It starts out hilarious and stays right there. By the time a shot of Pokey prompts Mike to quip “Close-ups reveal the weakness of the whole premise,” I was done for. This one seems to get better each time I watch it.

The plot is, well, it’s a clay-animated Gumby short with the title Robot Rumpus, so don’t expect Shakespeare, alright? In this one, Gumby, rather than do his yardwork chores himself, gets a bunch of robots to do them for him. Things start out peacefully enough, but they soon go haywire; gardens are ruined, paint is thrown about, and a house is lifted off its foundation before Gumby’s pop Gumbo shows to help put things back in order. I’m tempted to call this the weirdest thing ever, but kids programming is by nature usually pretty weird, so it would be an entirely redundant statement (plus, I’m watching a show where a guy and his two robots are trapped in space and forced to watch bad movies; I love MST3K, but I’ll never say the premise isn’t a bit out there – that’s one of the reasons it’s so great!).

Also, it’s nice to know that Gumby holds a Class F license.

"Okay, who turned up the heat in the hot tub?!" - Servo

“Okay, who turned up the heat in the hot tub?” – Servo

A common charge against some of the episodes with particularly strong shorts before the main movie is that the feature never sustains the momentum of the short. I wouldn’t say this is true 100% of the time, but there are episodes where the short overshadows the movie somethin’ awful. So what am I even babbling about?

In the case of 912, you’ve got two forces contrasting each other as much as two forces can be, erm…contrasted? What I’m saying is you’ve got a loud, colorful, clay animated short intended for the lil’ baby childrens, and a long, black & white, slow-moving, drab horror movie for the older set (and by “older set” I don’t mean the “adult” set so much as I do “necking teenagers at the drive-in who couldn’t care less about a skull or why it happens to emitting loud decibels” set). The two don’t really pair well together, for obvious reasons.

And yet, together on Mystery Science Theater 3000, somehow it all works. True, the riffing of The Screaming Skull isn’t on the same level as Robot Rumpus, but with such a dramatic shift in tone, I don’t think you could really expect it to be. That said, I really enjoy The Screaming Skull portion of 912. Any movie that starts off with the promise of a free coffin for anyone that dies of fright during it is setting itself up for some quality riffin’, and Mike & The Bots live up to the challenge. I found myself laughing quite a bit throughout the entire feature-portion of the show (some of the riffing on the good Reverend Snow in particular is fantastic; during a conversation in which perpetually-worried-face Jenni unloads her emotional burden to him, Mike’s “You know, the Gospel speaks of losers like you…” and Crow’s semi-cheery “Oh, well it’s hell for you then!” had me roaring).

"Oh, he's playing with his beach skull!" - Mike "Buy beach skull now and receive free beach clavicle!" - Crow

“Oh, he’s playing with his beach skull!” – Mike / “Buy beach skull now and receive free beach clavicle!” – Crow

(Caution: some movie plot spoilers ahead, like anyone really cares.)

The screencap above makes this one seem more action packed than it really is. The fact of the matter is not a whole lot happens (not until the very end, anyway). This is one of those plots you can more or less figure out from the title and first 5-10 minutes of the film or so.

In it, newlyweds Jenni and Eric begin their new life together by moving into the house in which Eric and his first wife Marion lived before her untimely death. Also, she died under somewhat mysterious circumstances. Also, Jenni used to be in a mental institution. Also, Jenni is rich. Where this is all going couldn’t be any more obvious if someone wrote the entire plot out on a brick and threw it at your face. I’m pretty sure children are born with the knowledge of where this is all heading.

So yeah, Eric tries to drive his new wife batty (again) and thus to suicide by convincing her the house is haunted by the ghost of his first wife, her skull in particular, which naturally only Jenni can see.

Except there’s a twist here. For the stunning (?) climax, The real ghost of Marion shows up, announcing her presence first by chasing Jenni around (which kinda irritates me, since Jenni didn’t really do anything to draw the ire of the apparition, except maybe keeping her face in an almost constantly pinched expression), and then straight up killing Eric (that’s what you’re seeing in the screencap above).

If I’m being completely honest, yes, it’s a dull film with loooong sequences of nothing in particular really happening. BUT, it’s not that bad. I mean, yes, it is bad, no question, but it’s basically inoffensive 1950s drive-in fare. There were infinitely more disgusting things ran on Mystery Science Theater 3000. In comparison to, say, The Beast Of Yucca Flats, The Screaming Skull actually looks pretty derned good (then again, what doesn’t?). And, even though it takes forever to get there, some of the climatic scenes are actually pretty effective, provided you can ignore Eric clearly holding a plastic skull to his neck, and the infamous tossing-a-stool-at-the-ghost scene (which became this episode’s stinger). The movie itself almost lends an easygoing vibe to this episode as a whole, which is weird since it concerns a guy trying to kill his wife with a plastic skull.

The proceedings aren’t overly painful, is what I’m trying to explain.

Oh, and there’s a Torgo-esque gardener named Mickey. He provides some unintended levity to the proceedings, though he’s still a distant third behind Torgo and Ortega in the “really, really weird lackey that probably needs a shower” category.

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The host segments for this episode, like I said before, they’re “mostly good.” I wasn’t super impressed with Tom Servo turning into a butterfly or Pearl, Observer & Bobo tricking Mike & The Bots into costumes for no real reason. But on the other hand, Servo attempting to scam a free coffin is good, and Bobo being shrunk via the most non-existent special effect possible at the end is funny.

But, my favorite host segment is seen above: Crow decides to scare Mike by being a “screaming skull.” Unfortunately, his (fairly wimpy) scream causes Mike to flip out and continuously scream in terror as he beats Crow over the head with a variety of objects (the best scene of the segment is Mike carefully deciding on the perfect golf club to hit Crow with, all while still screaming). The host segments of MST3K can often be a mixed bag, and this episode is no exception, but this moment in particular is a bonafide winner.


 

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I said way up above that advertising for MST3K had basically disappeared from the station following the 1999 series finale. If there were any kind of promos for the series in general following that, I’m unaware of them. I’m guessing there may have been one for Merlin’s Shop Of Mystical Wonders, and Satellite News shows a mini-marathon of episodes at the end of 1999, which I cant imagine there not being some kind of advertising for that. But following all that, MST3K finished life on Sci-Fi strictly on Saturday mornings. When I was able to watch the show in “real time” again in 2002, I certainly never saw any advertising. I want to say there was a “coming up next” deal prior to episodes starting, but even if that’s so, that’s more of a courtesy than anything.

Anyway, in regards to this January 31 broadcast, the only thing even in the ballpark of advertising is what you’re seeing above: the little ‘banner’ at the bottom of the screen, reminding you of what you’re watching. Granted, it was common to Sci-Fi programming at the time, and they also take the opportunity to tell you what’s coming up next (in this case, Fright Night 2), but still, it’s nice to see that even in that little itty bitty way, MST3K was still on Sci-Fi’s radar. Kinda.

While on the subject of advertising, thus far this has been more of an episode review. Which is fine, because after years of hoping and praying, it was finally released officially in the Volume XXXI Turkey Day DVD set. I probably wouldn’t put 912 in my top 10 favorite episodes ever list, but I do like it plenty. Top 20, maybe.

However, this article is supposed to be about the larger broadcast picture. Sure, the episode itself is the main point, but what definitively places things in a certain time and place are the commercials. Just like my other ‘broadcast recap’ posts, I like to finish up with a look at those.

The problem here is that, being from 2004, most of the commercials, well, they aren’t that great. 2004 is just too new to be all that interesting. Still, I’d be remiss in whatever it is that can be considered my duties if I didn’t give at least a quick look at them, so here now are some of the better ones (in my opinion, anyway) that were seen during Mystery Science Theater 3000‘s Sci-Fi farewell broadcast on January 31, 2004:

 

Sci-Fi Channel Stargate SG-1 / Code Name: Eternity Promo

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Hey, you all remember Stargate SG-1, don’t you? Sure you do! After all, it was only on for about 47 years. It was about MacGyver and a guy with a Dodge Ram logo on his forehead going through adventures in outer space or something like that.

Easy SG-1 fans, of course I jest. It was actually a pretty good show, at least what I saw of it when it was in syndication (around here it was WJW TV-8 on weekend afternoons, if I recall correctly). This promo, obviously, spotlights the show after new episodes were moved from Showtime to Sci-Fi.

As for Code Name: Eternity, never saw it. Apparently it was a 1999 Canadian series that only ran a season and then showed up on Sci-Fi. Ain’t I helpful?

 

BarNone Auto Loans Ad

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I had almost completely wiped this series of ads from my memory. BarNone Auto Loans are still around, and at the time they had a line of commercials featuring a dog sock puppet (apparently originally a Pets.com mascot, though I really have totally forgotten all about that hoopla) pitching the company. So, yeah.

 

Office Max Highlighters Ad

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This one spotlights (see what I did there HAW HAW HAW) Office Max’s special brand of highlighters, and centers around one employee’s convoluted “too sick to work” scheme, which fails spectacularly. At least I think that’s plot of the commercial, I didn’t bother to save it to the PC and I refuse to go back and check. I’m pretty sure that’s what it’s about.

 

Geico Gecko Ad

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Geez oh man, it can be hard to realize that Geico’s Gecko has been around for basically forever at this point. I also find it troubling that I can tell his accent is slightly different in this ad from what it is nowadays, even though I’m hardly a Geico Gecko expert. In this installment in the long running series, a boy sleeps while his two robot toys prepare to duke it out. That is, until the Gecko steps forward to pontificate about Geico, much to the amazement of said toys.

 

Cabin Fever On DVD & VHS Ad

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Yes, they were still releasing commercial movies on VHS in 2004. That wouldn’t last a whole lot longer. My reasons for including this one have less to do with the movie (I have never seen Cabin Fever nor do I have any interest in seeing Cabin Fever) and the odds were good that I would have ended up skipping this one entirely (a fate that befell a Burger King ad featuring Steve Harvey trying to come up with a combination name for “sandwich” and “salad”), until I realized it starred Shawn from Boy Meets World. Though, that’s really all I have to say about it. So, thank my TGIF nostalgia for this entry, I guess.

 

Final Fantasy Crystal Chronicles On Nintendo Gamecube Ad

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Hey, a commercial I can almost get excited for! I say “almost” because aside from the very first installment for NES, I have never played a Final Fantasy game. And, since I generally don’t care for most RPGs, I really have no interest in even that one. In other words, I haven’t played Final Fantasy Crystal Chronicles and you can’t make me.

HOWEVER, the poor Nintendo Gamecube, while maintaining a cult following, was basically getting clobbered by Sony’s Playstation 2 and Microsoft’s Xbox at the time. Since Final Fantasy is indeed a big name in the game world, it was nice to see it show up on Nintendo’s underrated console; from a sales-standpoint, it needed all the help it could get (that’s not a slam, either; I had a Gamecube, still do somewhere in fact, and it was definitely a lot of fun, but the system really was an object of derision among most of my PS2-owning friends, which I think was representative of teenagers in general).

At any rate, old video game ads are always a nice example of the time in which they were broadcast. So, 2004, Gamecube, there you go.

Next On Sci-Fi Promo

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Found during the final commercial break of the broadcast, this was a short promo for what was coming up next on Sci-Fi. Fright Night II (hey, it was listed as Fright Night 2 before!) and Halloween II & III would take you up through midday that Saturday. While I’ll never claim to have much interest in any of those films, does Sci-Fi even play movies like them anymore? Of course it’s “SyFy” nowadays, but at last check (and it really has been awhile), it was all homemade SyFy exclusives and whatnot. Then again, I don’t watch the station anymore, so what do I know?


And so, Mystery Science Theater 3000 came to an end on the Sci-Fi Channel. Never has a show-ending stinger felt so bittersweet. We had our tapes, we had our DVDs, but what we didn’t have was knowledge of when or if we’d ever see our favorite show being broadcast again.

A lot of the “specialness” of this recording has dissipated over the years, but for once, this is a good thing. We MSTies have been given what could be described as the royal treatment. MST3K has been making a comeback on actual TV, the DVDs are profuse, and most of the people involved with the show are still out there cranking out the comedy in various forms.

Still, it’s a tape that captures that moment in time when a lot (but not all) of that was still up in the air, and for that, I’m glad I still have it.

Plus, you know, it’s a good episode I like to watch every now and then. Kinda easy to forget that when I’m busy pontificating about (real or imagined?) specialness and whatnot.

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Man, that image above still brings a tear to my eye. Figuratively, I mean. After all, it’s just a show, I should just relax and all that jazz.

CBS Late Show With David Letterman – Dave Reads MY Letter On The Air! (2002)

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I’m not sure how much you can really see it here on this blog, but David Letterman has been a huge, huge influence on me. From my sense of humor to just how I look at comedy in general, Dave’s contribution to me (that sounds weirder than I meant it to) has been nearly incalculable; only Mystery Science Theater 3000 and the various local horror hosted movie shows from my neck of the woods can claim a larger influence on your Northeast Ohio Video Hunter. I’m a pretty big Letterman fan is what I’m saying.

Which is why today is such a bummer for me. For those that haven’t heard (and really, if this is news you’re just now getting from me, well, there’s a serious disconnect somewhere there), tonight Letterman will air the final episode of his Late Show on CBS. All good things must come to an end and so on, I know. Doesn’t mean I have to be happy about it.

I guess I can understand it, though. The late night TV climate has changed wildly over the last several years, and Dave has increasingly looked like the odd-man-out. Not to mention, and I say this as a longtime fan, he’s more-or-less been on autopilot the last several years. Not that the show has been bad,  it hasn’t, but from my perspective, it (or rather Dave himself), has been operating at a level markedly below previous years.

At any rate, Dave has always been my favorite, always will be my favorite, and thus I’d be remiss if I didn’t do some kind of post in regards to him on my silly blog. That’s just what I’m doing now, with what was (and is) undoubtedly the most exciting moment for me in my time as a Letterman fan.

‘Course, I’m particularly biased towards this particular moment, because this was the man himself, Mr. David Letterman, reading my letter on national television! As you can see above, that’s him, gearing up to read a letter that, to him, was almost certainly just business as usual, but to me is one of my most legendary “achievements” (such as they are).

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The practice became infrequent in later years (eventually they stopped doing it altogether), but at the time, Friday night was the dedicated viewer mail night on the show. Through an online submission page, you could send an email to the show in hopes of future usage during the “CBS Mailbag” portion of the program. Of course, the trick was to send something they could get a bit out of, because this was no serious question-and-answer deal.

I wound up bombarding them with questions. Most of them were, I thought, good fodder for the segment, though a few were, if I recall correctly, of a more “real question” nature (I don’t know what I was thinking). You have to imagine more than a couple people were writing to the show, and undoubtedly some were doing exactly what I did. With only fours letters read per segment, obviously chances of yours making it on the show were fairly slim. BUT, somehow, someway, through brute strength and sheer endurance (aka: got lucky), one of mine made it on the air.

At the time, I was heavily into the TV ratings/renewals/cancellations game; these were stats I followed as closely as some did their favorite sports teams. In more recent years I’ve only really paid attention to my favorite ‘new’ shows (there’s not many) in these regards, but at the time, this was an area of high interest to me. So, it being early in that fall television season, my question naturally was “What show do you think will be cancelled first this TV season?” Maybe not the most probing question ever posed to Dave, but hey, it got my mail on the air, so in yo’ face.

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That’s me! Thanks for zooming in for that close up of my letter, Late Show!

Dave’s reading of this wasn’t a complete surprise, which is a good thing, because otherwise I probably wouldn’t have been taping the show that night. I was able to know about the letter-reading beforehand thanks to the the Late Show‘s online Wahoo Gazette, which is still running (for now, anyway). Every Friday, they posted the mail questions that would be read that night, along with the names of the people that sent them. I can not overstate how much I flipped when I saw that one of my submissions had been selected to be on the show that week. In short order, a new blank VHS was obtained and earmarked for an SP mode recording; this was historic stuff, man! Needless to say, I still have it (duh!).

Also, I know I had at least one print-out of the Wahoo Gazette page featuring the revelation my question would be read on the air that night, but for the life of me I can’t find it. And to make matters worse, for whatever reason I didn’t notate the full date of the broadcast on the label of my VHS recording; this was definitely fall 2002, but I can’t remember the exact date otherwise. The fact that I can’t find my print-out irritates me mightily, but then, I really should have this date burnt into my memory. Still, Dave read my letter, so in yo’ face, I guess.

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Dave’s immediate response? “You’re lookin’ at it, Larry!” That wacky guy! I need to make that line a ringtone of some sort. David Letterman: said my name not once, but twice. This, of course, was cool winnins before the term “cool winnins” had been coined by yours truly. Cool winnins!

Just like most of his answers during the mail segment, Dave pretty much ignored the actual question in favor of setting up the respective gag. In this case, he mentions that everyone is excited about the then-new CSI spin-off CSI: Miami, and CBS has another such spin-off in the works.

Behold:

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60 Minutes: Miami. I love it. As per Dave, whenever there’s a hit show, the network makes another one just like it, but set in a different location, which, well, you can’t argue with him there. I mean, this aired nearly 13 years ago (as of this post) and networks still do this sort of thing, though it doesn’t seem like it’s as ubiquitous as it was back then.

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What could a 60 Minutes: Miami possibly entail? Dave wasn’t lying about the spin-offs being pretty much the same as the original shows. 60 Minutes: Miami is little more than regular 60 Minutes, with all of the same hosts, except they’re wearing swimwear (and ostensibly in Miami).

Obviously, they just superimposed tropical attire over the actual hosts as they give their customary “I’m ______________” diatribe. For such a simple gag, this really is pretty funny, and there is a final pay-off to the bit…

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It’s the final shot of a shirtless Andy Rooney that is the punchline to the whole thing. The audience had been laughing steadily at the whole deal anyway, but the topless Andy Rooney (that sounds weirder than I meant it to) causes them to erupt in surprised laughter.

While I’m not sure this gag really qualifies as the best example, I think what attracts me to Letterman’s humor so much is just how weird it is. Not that Andy Rooney without a shirt isn’t supremely weird enough as it is, but I mean, just look at the whole bit in general: it’s the cast of 60 Minutes in swimwear. That’s pretty much it! Dave always had a real streak of non-sequitur in his humor, and that’s right up my alley. I really do love random bits of humor that leave a viewer confused, and Dave’s show has (well, had) it in spades. Admittedly, it’s not for everyone, but personally, it always struck a chord with me (obviously).

And unless you’re missing the big picture here, let me spell it out: I wrote David Letterman, and it gave the world a mocked-up picture of a shirtless Andy Rooney.

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Dave’s final thoughts on the matter? The combined age of everyone on 60 minutes must be “well over two or three thousand” and Mike Wallace alone is “at least a hundred.” Funny stuff! It may come off a little dark to some people nowadays since both Mike Wallace and Andy Rooney have passed (RIP, fellas), but hey, they were still alive then. Anyone offended by that needs to chill out, man.

And so, that is the saga of my letter being read by David Letterman on national television. HOWEVER…

Now is as good a time as any to mention that in the summer of 2005, I had the good fortune to actually attend a taping of Late Show With David Letterman, with guests Jennifer Connelly and The Eels. It was a terrific show, and Dave really was “on” that night (and no, I’m not just saying that because I was there in person). For a trip that really only had, maybe, three days in advance planning, it went off without a hitch. I got to see Letterman in person, it was a great show, I got to walk around New York City (I’m not normally a sightseer, but NYC is an absolute exception), and to cap it all off, I got to meet two Letterman regulars in person: fan-favorite Rupert Gee of the Hello Deli (right next to the Ed Sullivan Theater) was working that day, and shortly thereafter, I ran into stagehand Pat Farmer taking a break around the side of the building. Both guys were extremely friendly and gracious enough to take pictures with me. I made a concerted effort to find those snapshots amongst the rest of the family photos to post here, but I have no idea where they are. The only thing I got out of the deal was some wasted time and depression from looking at old pictures of myself.

Anyway, those are my memories. It may not be much, but hopefully this is some kind of acceptable tribute to Letterman and what he’s meant to me over the years.

And so, it is with that that I now wait in apprehension for Dave’s swansong tonight. So long Dave, and thanks for all the laughs.