Tag Archives: northeast ohio

Big Chuck & Lil’ John Promotional Flying Disc (Circa-1993)

Look chief, when I said back in February that I wanted to spotlight more Cleveland television memorabilia, I wasn’t lying. I certainly like seeing original broadcasts, or obtaining promotional photos, or finding vintage print ads, but here’s my hidden secret: one of my great passions in this hobby is collecting the, as I have deemed it, “solid memorabilia.” That is, mugs and glassware, pins, shirts, hats, or anything randomly emblazoned with the names/stations/logos of Northeast Ohio broadcasting. For whatever reason, I place these types of items in a different mental category than I do paper ware and video tape. So there.

Today’s subject fits my weird “solid memorabilia” ideal and new decree that I spotlight such on my stupid dumb blog to a tee, because this, this is legit. Dig this: it’s a vintage (from somewhere in the early-1990s) promotional flying disc for WJW TV-8’s The Big Chuck & Lil’ John Show. Yep, the iconic late night horror hosts/comedy duo of everlasting Northeast Ohio fame had their own promotional toy. Neato! As you can see, it features their classic caricatures and the old school WJW logo, all printed on a flashy green disc. Rest assured, this is exactly the kind of memorabilia I’m always on the lookout for!

I’m not totally positive on when it’s from, mainly because I don’t know how long they were pitching these. They were definitely pushing them in 1993, and thus that’s the “circa” date I’m going with, but I’m unaware of when they were first produced for sure, nor do I know when they stopped making them. So yeah, circa-1993.

I’m also not completely sure as to how the common dude-on-da-street could obtain these. I’d imagine they were sold regularly, probably at personal appearances and maybe at stores around town, but don’t quote me on any of that; it’s merely a guess on my part. I do know that they were given out as prizes for correct trivia answers on their show. That is, to studio audience members lucky enough to be called on and lucky enough to have a satisfactory answer to a given question, not to mention lucky enough to be in attendance at a show taping in the first place. If these flying discs were uniquely given out as show prizes, well, that’s just plain cool, and not something easily obtainable, either then or now, I’d assume.

Also, it’s important to note that it’s not a “Frisbee,” but a “flying disc.” Y’see, “Frisbee” is a Wham-O product and a trademarked name, but like “Band-Aid,” it’s often used to describe all similar products. But no, this is technically speaking a “flying disc.”

There were actually two of these discs out at the same time: a large (standard-size) disc, pink in color, and a smaller green one. The smaller variant is what you’re seeing above; I haven’t picked up the big one yet, mainly because I’m at the mercy of what comes up for sale and enters my line of vision. Plus, you know, there’s that whole scraping-together-enough-money thing, too.

The reason for the two different sizes? Well, obviously the big one signified Big Chuck, and the small one signified Lil’ John! That’s actually a pretty great gimmick, one that fits the duo perfectly.

So, not a long post, but then, there’s only so much I can say about a 25 (?) year old flying disc. Oh, and happy St. Patrick’s Day, by the way; the disc is green, so it works here, right?

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Vintage WJKW TV-8 Last M*A*S*H Bash Tickets (February 25, 1983)

Let’s get one thing clear: I’m a huge, huge M*A*S*H fan. From the earlier, comedy driven seasons to the later, more dramatic ones, I love the series as a whole. Of the 11 seasons the show produced, there are precious few episodes I don’t care for, and even then, I can still find at least something to like about the weaker entries.

It stands to reason I love collecting memorabilia pertaining to the show. Oh sure, the various DVD (and VHS, and Betamax) releases, yeah, I’ve got plenty of those. But, I’m speaking more about the “supplemental” materials; assorted promo items, toys, games, stuff like that. Over the years, I’ve amassed quite a bit of M*A*S*H merch (M*E*R*C*H?), but our subject today is quite probably my favorite of the bunch.

Why’s that? Because it not only hits the required M*A*S*H bullet point, but also checks off being 1) fairly unique, and more importantly 2) Northeast Ohio-related. It doesn’t take much more than that to get your Northeast Ohio Video Hunter fired up somethin’ fierce!

Dig this: it’s a pair of dog tag tickets for what was dubbed “The Last M*A*S*H Bash,” held at Cleveland’s Terminal Tower Concourse on February 25th, 1983. 35 years ago this very day! Trust me, this is ridiculously awesome, and when I saw them pop up in an online sale for only a few bucks, there was no way they weren’t becoming mine. Cool winnins! (Technically, and just so we’re clear, this is really only a single ticket; both tags equaled one ticket, dig?)

I have a big interest in all facets of M*A*S*H, but a particular fascination with the series finale “Goodbye, Farewell and Amen” and the massive amount of hype that surrounded it. Make no mistake, it was an iconic, watershed moment in television (and pop culture) history, and these fake dog tags play right into that.

The actual finale aired on February 28th, 1983, so despite what you may infer from the name of the event, this wasn’t a gigantic viewing party. However, it was, from all appearances, a gigantic party, though. As you can see on the bottom tag here, it was a 6 hour event held to benefit charity, and although it’s not stated on either tag, it was limited to 5,000 persons. I’d imagine the entry fee was fairly hefty.

Top Tag: I always think of this as a WJKW TV-8 event, because they were our CBS affiliate and thus the ones to bring forth shiny new M*A*S*H episodes in Northeast Ohio, plus the ads for this event aired on the station, but in truth, they were really only co-sponsors. As you can see, Arby’s and WGAR also had a hand in making it happen.

Bottom Tag: I wonder what the stamping of “VIP” on the bottom tag entailed? Did that mean you got to sit right next to Larry Linville? Yes, even though the tickets give all the pertinent info (name, date, time, etc.), they fail to mention that Frank Burns himself was there! That’s cool, and had I not been negative 3 years old (well, negative 22 years old, since you had to be 19 to get in), I’d have so loved to meet him. I wonder if anyone asked if Frank Burns really ate worms?

(Why the less-than-stellar quality of these dog tag pictures, by the way? Shadows and flash and all that? Consider those watermarks! It’s either that or I emblazon my name all over ’em.)

Here’s the back of the second tag. Since I was obviously not at this event personally, I’m not sure how it was set up, but there was evidently a reception of sorts. (Please, anyone with further info or was even there, chime in with a comment!) As you can see, there’s the standard disclaimer on the back, and while it was totally necessary as a legal precaution, I can’t help but find it a little funny; just what was going to happen at this thing?! Would there be an reenactment of the Trapper John boxing episode? Or maybe Linville officiated a boxing match not unlike the fight between Klinger and Zale in a later episode? Would there be thefts akin to “I Hate a Mystery” present? Impromptu meatball surgery sessions? The mind reels at the possibilities! (I of course kid here.)

And so, there you have it, some info on “The Last M*A*S*H Bash,” held 35 years ago today at Cleveland’s Terminal Tower Concourse. Of all the things pertaining to the series finale, outside of the episode itself, this is probably my area of greatest interest. I mean, it’s M*A*S*H, it’s Cleveland, it’s WJKW, and Larry Linville was in attendance. That all gets a solid “neato!” from yours truly.

(I wasn’t kidding before; if you have any further info on this occasion, please share via the comments section!)

WJW-TV 10th Anniversary Commemorative Lighter (1966)

Here’s the thing: I’d like to start covering more legit Cleveland memorabilia here on the blog, especially that which pertains to its television history. Not that such things haven’t been seen before, but I take a huge interest in old local-to-me knick-knacks like this, and frankly, these types of posts have been fairly neglected. Not that I can promise articles like this will become a once-a-week feature or anything like that, I’d like to keep things video/electronic-focused, but hopefully I can start to rectify this error beginning with our subject today.

And boy, is it cool! Behold: my vintage Wind Master lighter. It’s reusable, man. Think wick and lighter fluid and all that. Now, during my travels I come across things like this frequently enough, and truth be told, I don’t pay all that much attention to them, because, I mean, I just, uh, don’t. Lighters like this are a dime-a-dozen, figuratively speaking.

So why get so fired up this time around? What, you’ve already forgotten the subject of this post, and refuse to scroll up to read the title and/or opening paragraph? You say you have thus far neglected to look at my informative provided picture? Well, let me spell it out for you here and now then, Chuckles: the aspect of this lighter that gets me so fired up is that it was given out in celebration of the 10th anniversary of Cleveland’s WJW-TV 8! See, stamped right on the front there! Cool winnins!

(You’ll notice that I used a napkin as a backdrop, because I’m talented. Actually, after a slightly longer-than-expected session of picture-taking, it became evident that getting a satisfactory photograph was going to be somewhat harder than I initially anticipated. Blame it on the shininess of the lighter, the flash on my camera, the light in room, or whatever you want, but this was the best that I could come up with. Methinks it looks okay, though.)

I’m guessing, just a bit, on the date. Wikipedia sez WJW began life as WXEL in late 1949, and eventually became WJW in 1956. I’m going to go ahead and say this lighter was produced in regards to the birth of WJW proper and not the station as a whole. It could be from 1959, but I really don’t think so. So yeah, 1966 is what I’m going with.

Pictured on the back is what I’m assuming is an illustration of the WJW station of the time. I mean, what else could it be? There’s nothing about it that particularly screams “television station!” to me, except for what appears to be the little antenna on the very top. But then, I’m no expert on the building(s) that housed the station in years past. Or present, for that matter.

It’s a pretty safe guess (and keep in mind, this is entirely a guess on my part) that these lighters were originally given out to WJW employees working there at the time of the big 10th anniversary. (“Gee, you don’t say!”) As such, it probably wasn’t something that your common man-on-the-street could have acquired. You could call it a promo item, but I think of it more as a commemorative one, which of course is what it actually was.

And (probably) being from 1966, who knows who originally owned it? Was it Ernie “Ghoulardi” Anderson’s personal lighter? Big Chuck Schodowski’s go-to implement for firing up the grill? The possibilities are (almost) endless!

Or maybe they just gave them out to everyone who walked in the general vicinity of the station, including the kid who delivered the sandwiches, I don’t know.

Honestly, I’d like this lighter no matter what network was showcased on it, but especially so here, because WJW 8 is one of the “big” stations that I like to collect memorabilia for. It’s one of my personal favorites, boasting an absolute wealth of local broadcasting history, both past and present.

(Along with WJW, the other local channels whose memorabilia I go ‘nanners over: WUAB-43, WKBF-61 and its successor WCLQ-61, and WOAC-67. Those are my “big five” favorites, and whenever I can add something, anything pertaining to them to my collection, it’s a cause for celebratory fist pumps and/or triumphant cheers. Not necessarily saying I do either of those things, just that they’d be appropriate.)

As I stated earlier, this is a Wind Master brand lighter. A quick Google search tells me these were popular to use for advertising purposes or as commemorative pieces like what we’re seeing right now.

Also as stated earlier, this was (obviously) a reusable lighter. Although you can’t see it in my picture here, mine still has a wick in it. It’s dry as far as fuel goes, but I’ll go ahead and guess that it would light okay if I put some fluid in. Truth be told though, whether it works or not isn’t really important to me. It’d be a nice bonus, but hardly necessary. No, for yours truly, it’s all about the neato WJW stuff stamped on the front and back.

Indeed, for that very reason this is a piece of broadcasting memorabilia directly up my alley. I really do love finding vintage local television-related items like this. If I’m being honest, I tend to prefer things that anyone back then could have theoretically had; I like to imagine myself in their shoes, if that makes any sense.

Still, there’s something to be said for relatively-exclusive pieces such as this one; it’s not like you trip over them walking down the street. Not my street, anyway. It’s obviously an item in far shorter supply, especially with it being as old as it is.

This WJW 10th anniversary-branded Wind Master lighter is not only an interesting artifact of the 1960s, but more importantly, an artifact hailing from a bygone era in television broadcasting – Cleveland television broadcasting, at that! As such, it’s a welcome part of my ever-growing collection.

(Related side note: for quite awhile, there was a WKBF-branded lighter on eBay that kept ending unsold and being relisted. As I recall, it was kinda pricey, maybe $50 or $60, don’t remember. Whether someone eventually bought it or the seller just got tired of relisting, I couldn’t say. All I know is that despite opportunity after opportunity, I never jumped on it, and now my WJW lighter is missing a companion piece. Then again, the fact that I’m almost perpetually broke didn’t really lend itself well to my dropping coin on what is, when all is said and done, basically an arbitrary purchase. Doesn’t mean I have to be happy about it now, though.)

End of the Year Post: A Fond Final Farewell to WAOH TV-29

And so we come to the the waning hours of 2017. I know this is cliche to say, but this year really did fly by. Another 12 months where I accomplished few things of any lasting importance! These kinds of years are really starting to outnumber the ones where I do accomplish something important…

As ’17 draws to a close, I could certainly take a look at the events we’ve collectively shared as a nation, the celebrities we’ve lost, or the personal achievements I’ve, uh, achieved. On the first two points, others are better suited to that sort of thing, and on the third, I’m wise enough to know that nobody cares.

I won’t completely abandon the idea of a personally-connected post, however. There was an event that took place here in Northeast Ohio this past October that, quite frankly, was like a part of my childhood ending for good. All four of my longtime readers will recall the early, early article in which I paid tribute to WAOH TV-29 in Akron & WAX TV-35 in Cleveland, better known as “The CAT” (Cleveland-Akron Television). Despite my somewhat-erroneously referring to it as “The Cat,” rather than the more-correct “The CAT,” not to mention it being an early effort and therefore not one of my prouder works, the article has become one of the most popular on this site – probably because there’s just not a whole lot of info on the station out there in internet-land.

So, as we say goodbye to 2017, what say we also say goodbye to 29?

(Hunker down, gang; this’ll be a long article. Indeed, I’ve worked on it for much of this month, which is why there was no “Christmas post” proper, though I did get a dash-off day-after update, so you can’t be too mad at me. Or can you?)

I’m not sure when it was first announced, but I became aware that October 25 was to be WAOH TV-29’s swansong on September 9, when an almost-casual bumper stating the fact popped onscreen. It was a shock! What did this mean, exactly? I have Spectrum digital cable; would that mean they would just pick up the Cleveland feed? Or did that mean the station and programming as I/we knew it was done for good? As it turned out, the answer to both of those questions was a big fat “no.”

To be clear, the channel itself is still around, as Cleveland’s W16DO. Even though Spectrum doesn’t currently carry it on digital cable around here (for now?), it can apparently be had with an antenna, which as of yet I have not gotten because I’m almost perpetually broke.

That said, with first the network change from The CAT (largely but not exclusively an America One affiliate) to a Retro TV affiliation in 2009, and then the Cleveland WAX TV-35 affiliate becoming W16DO in 2015, and now Akron’s WAOH TV-29 leaving the air entirely, it really does feel like the last semblance of The CAT has left us; the last outward sign of The CAT anyway, that being the WAOH channel 29 part, is gone. As such, it feels like the book has closed for good on one of Northeast Ohio’s most interesting stations.

Now, don’t think I’m being weird and sulking over the loss of a television affiliate. I mean, yeah, I’m not happy that I can’t (currently) watch it, but I’ve got more important, actual problems to be depressed over. That said, I can honestly say that no local channel was quite as important in shaping my tastes in movies and television growing up as The CAT was. From 1997-2000, it yielded me an untold number of cinematic revelations, and to a somewhat lesser extent, vintage television revelations, too.

So, what I’m going to do now is go through some of my favorite moments and memories from my salad days with the channel. It might give you some insight into not only their programming but also what makes me tick, but quite frankly, this is just something I want to do. Plus, I’m really not happy with that earlier article anymore; an all-new write-up was in order, even though we’ll cover some of the same ground.

(Has my intro been long winded enough? It has? Okay, good.)


Just one of many CAT station I.D. bumpers. (Late-1990s)

I’m not quite sure when it first went on the air, Wikipedia says 1989 for Cleveland, 1995 for Akron, but my first real experience with the channel was in the summer of 1997. I had caught bits and pieces, glimpses really, prior, but on that day, as I was flipping around, I stumbled upon an airing of an ancient, subtitled movie. At 11 years old and going from 4th grade to 5th grade, it may seem weird that a kid as young as I was would care at all about a mega-old foreign flick, but even then I already had a steadily burgeoning interest in cinema. Okay, sure, my wheelhouse was more vintage sci-fi and horror, but the fact is I also took an interest in old cinema in general, and old foreign cinema? It was like I was catching something unique, something not easily accessible to the common man on the street, and while true or not in that instance, that ideal certainly applied to a number of flicks run on 29/35.

Following that fateful day, 29/35 became my go-to movie station, especially around the end of the summer, when my family dropped cable. I can’t exaggerate just how important The CAT was to me; it fostered my love of old movies, especially sci-fi and horror, and in some cases even created my love for certain genres, B-Westerns in particular. Simply put, a large portion of what I love to watch today can be directly attributed to The CAT.

It really was a constant sense of discovery; TV Guide didn’t cover the station, but the local newspapers did, and you have no idea how much I looked forward to getting the channel guide in each Sunday edition of the Akron Beacon Journal, just to see what neato stuff 29/35 had in store for that week. I lived for the days when a silent movie or cool vintage horror flick was on the schedule!

The America One logo, seen endlessly on The CAT in the late-1990s and early-2000s.

Now to be clear, most (but not all; more on that later) of the movies shown on The CAT weren’t owned by The CAT; rather, 29/35 was the local affiliate for the America One Network, and the majority of the films came from their library. As such, a large part of this nostalgia can be attributed to them as well. America One had a lot of fantastic stuff that you couldn’t see anywhere else – then or now. America One eventually morphed into Youtoo America, and up until fairly recently, you could catch a lot of these same movies in their late night slots, though that has diminished quite a bit (entirely?) as of late.

The America One “Western Theater” bumper, seen each weekday afternoon (and some weekend afternoons, too) for years. (1998)

I’m going to guess that the daily movies shown were all at the same time nationwide, time zone differences aside. Maybe not, I don’t know. Either way, here’s how our weekday line-up went: At 10 AM was a 90 minute movie, typically an older flick due to shorter run time. Then at 12:30 PM was “Western Theater,” always a B-Western, which also ran 90 minutes. Needless to say, these two movie slots were easier for me to catch during the summer months than they were during the school year, with holiday breaks being an obvious exception.

Immediately after Western Theater was the 2 PM movie, which went for two hours and ran the gamut of all genres and from all countries, and ranged from the silent era to the 1970s (and sometimes beyond; I seem to recall 1989’s My Mom’s a Werewolf airing in this slot at least once). I liked coming home from school to catch this movie in-progress, especially if it was one that struck my particular interests. Even when it didn’t though, I could be pleasantly surprised; Made For Each Other and Good News were films that I probably wouldn’t have sought out on my own but became fond of just by bumping into them during this slot.

The America One “Hollywood Classics” bumper, seen at 10 AM, 2 PM & 8 PM each weekday. (1998)

Then at 8 PM was another two hour movie, with basically the same set-up as the 2 PM one, though I don’t recall silents popping up as frequently in prime time as they did in the afternoon.

Of course between all of the movies were syndicated TV shows and local programming. The TV shows, I believe, also mainly came from A-1, though it might have been a mix of them and other distributors. For a few years 29/35 really pushed Dobie Gillis reruns with  humorous ads, and in those days of the late-1990s and early-2000s, there were also broadcasts of The Beverly Hillbillies, The Adventures of Ozzie and Harriet, Bonanza, and One Step Beyond, also all pushed fairly extensively by The CAT. It was a lot of stuff that was typical of independent stations basically, but looking back,  it would almost seem odd if they weren’t represented there.

This was also around the time that professional wrestling was monumental (again), and The CAT also had a few syndicated examples of that phenomenon. Once, there was some local wrestling out of Nashville or something that somehow got on the schedule one Friday or Saturday night. I never saw it before or since, but since I was never much of a wrestling fan, it might have run 57 years and I just wasn’t paying attention. Or I might be confusing it with something else entirely; it’s been a long time.

There were also some late morning and early afternoon television programs that probably came from A-1. I once caught an episode of the 1950s sci-fi series Captain Z-Ro either soon before or soon after the 10 AM movie, and reruns of The Cisco Kid were numerous for years, airing right before the daily western movie if I recall correctly.

But it was the local programming that really gave The CAT its flavor. Even with all of the America One content, this was such a Northeast Ohio station. When your name is an abbreviation of “Cleveland-Akron Television,” you kinda have to be!

Still from a SOG promo. (1997)

Readers taking even a cursory glance at this blog will know what an influence Son of Ghoul was on me growing up. I’ve written about him numerous times in the past, and most likely will again in the future. The Son of Ghoul Show was probably the flagship program on the station. Because he’s gotten so much spotlight time here already, I’m not going to say too much about SOG in this post. Rest assured though, he was the ‘biggie’ on the channel for me . The show aired on both Friday and Saturday, 8 PM to 10 PM, same episode both nights, and those airings absolutely colored my weekends back then. SOG, more than any other local personality, introduced me to the whole Northeast Ohio horror hosting legend. Sure, Superhost was in his waning days during my formative years (I was waaay too young to understand then), and I had watched Big Chuck & Lil’ John prior, but SOG, SOG was the big one. My love for local TV grew, and grew exponentially, from there.

Handy Randy promo still. (2008)

That was far from the only locally-produced show The CAT had though; there were plenty more. Many, but not all, of these local shows were call-in programs (a natural progression, as 29/35 was the television “arm” of Akron talk radio station WNIR 100 FM), often (always?) produced with only a desk, a host, and Cleveland/Akron phone numbers superimposed on-screen. Dining Out with Steve, in which restaurants were discussed and coupons given out, Steve French Sports Talk, which was exactly what it sounds like, and The Handy Randy Show, about cars and car maintenance, were all mainstays for years. Last I heard, Steve French was still on, and Handy Randy ran for the longest time as well, though as I recall it, the live, call-in aspect was later de-emphasized and it instead became a  prerecorded general car-related program.

Promo still for Smoochie’s program. (1998)

It was obviously a channel suited to any number of topics and shows, and in addition to what I’ve already mentioned, there were programs dedicated to urban communities (Keepin’ it Real), Kent athletics (The Kent Coaches Show), senior living (Senior Talk), even chiropractic health (Back Talk). Local radio personalities Bill “Smoochie” Gordon and Ernie Stadvec also appeared with their own programs over the years, and The CAT even did some quirky stuff,  such as The Big Al Show, which was filmed in a karaoke bar (and near as I can remember, wasn’t on very long). You never knew what you were going to get with The CAT, and because it was all produced “around here,” there seemed to be some leeway; since this wasn’t national material, issues and topics related to the area were prevalent, as you’d naturally expect.

As the 1990s progressed into the 2000s, the nationwide erosion of local TV in favor of syndicated programming and infomercials was only getting worse, and while, yes, 29/35 did have some syndicated shows (The Lighter Side of Sports was a long, long mainstay) and whatnot, the overall local vibes were too strong; you really did get the “Northeast Ohio presence” while watching the station! They absolutely lived up to their name. I wish I had been cognizant of the history behind some of these local shows/personalities back then, especially Smoochie’s program, but hindsight is 20/20. I’m certainly glad I experienced what I did, if nothing else.

When it came to movies and even just general programming on The CAT, late nights were, well, they were sort of a no man’s land. Yes, there were TV listings, but it was often a toss-up if you got what was advertised. Granted, this was sometimes an issue during the day (I remember coming home from school and being so excited to catch 1977’s Snowbeast as the listed 2-4 PM movie…only to instead be treated to 1954’s Carnival Story, which wasn’t quite the same thing), but late nights, you could just never be sure. What was listed in the channel guide might indeed air, or you might get something else entirely, and there was no (discernible) rhyme or reason to any of it.

Furthermore, there was a lot of syndicated programming, programming whose origins you couldn’t be sure of. In other words, where did it come from? Now look, the sad fact of the matter is I’ve been a night owl for years, and the other sad fact of the matter is I’ve also had spotty sleep patterns for years. (Maybe there’s a connection?) At least once that I can recall, I woke up in the middle of the night, stumbled out of bed, and turned on The CAT, only to be greeted with obscure programming produced by who knows who. Not that I ever saw anything weird or disturbing, but looking back, the same feelings that lead David Cronenberg to create Videodrome seemed to be at play with me here. Where did this stuff come from? Keep in my mind, this was all via my skewed, 11/12 year old perception. I probably wouldn’t have the same reaction nowadays.

The AIN station I.D. (1998)

In contrast to the daytime scheduling largely consisting of America One content, late nights (usually?) featured programming from the American Independent Network (AIN). AIN featured some of the same movies as A-1, though the prints themselves were different. For example, the versions of Circus of Fear and The Kansan I saw via A-1 were quite a bit scratchier than what I saw via AIN. Not that it really matters in the long run, but it was a difference I noticed.

AIN could also have some surprising movie selections. Indeed, the very first time I saw 1939’s Stagecoach was through a late night 29/35/AIN airing. I liked it a lot, though there was quite a bit of editing between commercial breaks, which obviously made the film disjointed. (I’m not sure where the editing originated from, us or them.) On the same classic movie front, AIN was the first one to present Fritz Lang’s M to me.

Host of AIN’s Family Film Festival. Anyone know his name for certain?

My first experience (that I can recall) with unique AIN programming on The CAT was a late night airing of 1934’s The Man Who Knew Too Much, or rather, what came right before. Immediately preceding it was 1977’s Wishbone Cutter, a horror film set around the time of the Civil War and starring Joe Don Baker. Wishbone Cutter aired during something AIN had called Family Film Festival, hosted by a guy whose name I think was Tim Brown. I came in for only the last minute or two of the movie, but it was still immediately apparent that it was wildly inappropriate for a program purporting to be aimed at families – which I of course find kinda funny now. (I’ve got a weird sense of humor.)

Outside of the movies and shows featured, The CAT was also a haven for local businesses and their advertising. Because it was an indie station, there were commercials for local establishments that you just wouldn’t, or couldn’t, see on any other channel. This was immensely cool, both then and now.

These ads were, near as I can tell, all produced by 29/35 themselves. That actually ran advertisements spotlighting their free television production services; all you had to do was call. Of course, I imagine you also had to pay for something, sponsorship of a certain program I’d guess, but it seems to me that this still gave affordable commercial opportunities to local businesses that maybe wouldn’t have gone that route otherwise.

To watch The CAT was to tap directly into the atmosphere of the area at the time.


Okay, so I’ve talked a lot about 29/35 as a whole, but what about some of the specific movies and related bits that I found particularly interesting? Some of the stuff that sticks out in my memory? That’s part of my story too, after all!

A few months went by after my summer introduction to the station, and following that, the first really notable movie I caught (and taped!) off The CAT was 1922’s Nosferatu. Nosferatu hit all the bullet points I was looking for at the time: It was silent, it was foreign, and it was a horror film.

It aired at 10 AM on October 31, 1997, which I remember because that was the big Halloween party at my grade school, and we were allowed to go home at lunch time to change into our costumes. I forget what I went as that year, but I do remember eagerly checking the timer-set VHS recording from just a few hours prior; I knew immediately Nosferatu was my kind of movie. An exponentially creepy silent unauthorized adaptation of Bram Stoker’s Dracula? I loved it. I still love it. Despite purchasing the later definitive tinted & restored releases by Kino, I still have love for the older, ‘regular’ public domain prints of the film thanks to what was aired on The CAT that day (a print that also boasted a fantastically “spooky” score).

(I also remember the afternoon B-Western playing when I got home to change into my costume / check the tape that day; it was the Buster Crabbe oater Devil Riders.)

As I mentioned before, The CAT was one of my main outlets for new old horror and sci-fi, and as such it was responsible for introducing me to far more than just Nosferatu; there was also a lot of the later, more-cornball stuff that crossed my eyes for the first time thanks to them. 1950s science fiction was a particular favorite of mine then, and while I tend to lean towards 1930s & 1940s horror now, I still like 50s sci-fi. Plenty of both showed up on 29/35. Some I loved instantly, some I didn’t, and some I only appreciated years after the fact.

He’s indestructible, and a man, hence…

When it comes to the latter: 1956’s Indestructible Man. The 10 AM CAT showing of the movie back in, I’m pretty sure, late-1997, was my first exposure to it. Oddly enough, neither that viewing nor subsequent viewings did much for me; I found it a dull, slow moving film. Even the Mystery Science Theater 3000 take left me cold.

And yet, a re-watch this past October on TCM found yours truly actually, finally getting into the film. I enjoyed the faux-Dragnet vibes, and at only 70+ minutes, it’s really not that slow moving. Didn’t hurt that TCM ran one of the best prints of the film I’ve ever seen, either. (I’m not sure where I’m going with this. I guess that The CAT introduced me to Indestructible Man, but it took me almost exactly 20 years to ‘get’ it?)

In retrospect, quite a few of the horror & sci-fi movies I grew up with came via the 10 AM CAT movie. King of the Zombies? It wasn’t quite what I was expecting, but check. The Little Shop of Horrors? Check, and I loved it from the start (the print aired on The CAT was one of the few I’ve seen that actually included the end credits, too – even the beautiful copy aired on TCM this past October omitted them). And Ed Wood’s Bride of the Monster? Aside from Lugosi, it’s terrible and not in a good way, but check that one, as well.

Two final points regarding the 10 AM movie: 1) Hillbilly Blitzkrieg once ran on it. A wartime Barney Google cheapie, I came into it already in-progress, and it was just wacky enough to make me wish I was taping. Of course I never saw it run again. 2) Something titled Mountain Lady. I briefly flipped to it, saw an outdoor setting and some big, ugly yellow film scratches, but recall little else about the film. I think it was listed as being from 1968. I didn’t watch very long, though maybe I should have. What was this movie? Where did it come from? Like Hillbilly Blitzkrieg, I never saw it on the schedule, 10 AM or otherwise, again.


The 12:30 PM Western Theater was a big one for me, and quite unexpectedly, too. Obviously I liked the horror and science fiction stuff, and the old imported features, and silent movies, but westerns? I don’t think I had paid much attention to westerns beforehand! Especially B-Westerns! It started off with my just being enamored by them; the obscure creakiness, the thought that I was seeing something not everyone else had. But then, the more I watched, the more I fell in love with the genre.

Of course I knew who he was prior, but I was actually properly introduced to John Wayne through these broadcasts. All it took was one airing of Blue Steel to hook me; it was so different from the stereotypical John Wayne image that comes to mind, him being in a 1930s cheapie. And the hype that was the “Lone Star Productions” intro (which really did stand out from other B-Western productions of the time) made the whole thing feel all the more special.

(Some time afterwards, the famed Best Buy $2.99 VHS section yielded me a copy of Blue Steel; I couldn’t have been happier to own the flick! I eagerly threw it in the VCR when I got home and watched the whole thing – an experience that was dampened by the tape being defective and refusing to exit the machine once the film was over. The VCR got through it unscathed, but of course the tape had to be returned, much to my disappointment. ‘Course, since these Wayne Lone Stars are public domain and have his name attached to them, they’ve been released numerous times on home video, so my disappointment wasn’t permanent.)

But by far the most enduring star to be introduced to me by the 12:30 PM western presentations was Ken Maynard. I had no idea who Ken Maynard was prior; what 11/12 year old in the late-1990s would? And yet, through these daily western broadcasts, I became a fan – a fandom which continues to this very day. Maynard was one of the top B-Western stars of the 1930s, and while you don’t hear his name mentioned very often outside of fan circles nowadays, he made some terrifically entertaining films. Fightin’ Thru, Drum Taps, Come On, Tarzan, all were introduced to me via these afternoon showings.

Come ON, Tarzan! Stop foolin’ around!

1932’s Come On, Tarzan became a particular favorite. I’m not sure if it’s my top Ken Maynard western, but it’s dangerously close; in the top five, if nothing else. I remember seeing it listed in the local guide, and wondering what a Tarzan movie was doing placed in the western time slot. Were they trying something new? I soon learned the truth; Tarzan was the name of Ken’s super-smart horse, who appeared in a large number of his pictures. Come On, Tarzan was terrific – I loved it then, and I love it now. It is very possibly one of Ken’s very best films – in my opinion, anyway.

The aforementioned Fightin’ Thru was another big one. I never once saw a silent or 1920s-era talkie in the 12:30 PM slot, so I took a particular interest in the earliest films possible there, which meant 1930. Near the Rainbow’s End, The Apache Kid’s Escape, and most notably, Ken Maynard’s Fightin’ Thru. I haven’t seen it in nearly 20 years now, but it probably holds up for me; even today I find many of Maynard’s westerns to be really, really good. Indeed, 1944’s Harmony Trail was his last starring picture, and while I had heard bad things about it, when I finally saw it many years later, I enjoyed it immensely – somewhat unexpectedly on my part, to be honest.

At the time, many of these westerns, Ken Maynard or otherwise, were unavailable to the general public, which only added to their allure. The only normative way to watch them (that I knew of) was through an America One affiliate. And if you wanted an “official” copy, you had to seek out specialty, mail-order dealers, because 99% of these weren’t gonna show up on brick-and-mortar shelves, not even my beloved $2.99 section at Best Buy. In more recent years, I have been extremely pleased to discover Alpha Video has released many of these on DVD and at really great prices, too.

1934’s The Tonto Kid, a Rex Bell feature, is another B-Western title that particularly stands out in my mind, but I’ll return to that subject a little later in this article.


That brings us to the 2-4 PM movies. As I said, these were the ones I came home to after school. I became acquainted with so, so many other new-to-me movies here. Hitchcock’s early talkie Blackmail? Yep. The silent Sparrows? Uh huh. The dubbed version of France’s Tall Blond Man With One Black Shoe? Yessir. Circus of Fear? Right on, mama. The Grand Duel? I dug it! Good News? Yes, and unexpectedly, I liked it! The Curse of Bigfoot? I kinda wish I hadn’t seen it, but yeah, that popped up at 2 PM, too. And although I was already well-familiar with it, even Godzilla vs. Megalon ran in this slot at least once, as well.

Like the western showcase, the afternoon slot was responsible for making me a fan of a genre that previously I had paid little attention to: Sword & Sandal films. You know, Hercules and the various imitators he spawned; Colossus, Goliath and the like. I wound up becoming a huge fan of these movies! Hercules, Hercules Unchained, Hercules Against the Mongols, David & Goliath, The Avenger, all stuff I became fascinated with.

‘Course, it was the entries that featured horror & sci-fi elements that really intrigued me. Many of them didn’t, and that was okay, but the ones that did, those instantly became preferred features in the genre. Hercules in the Haunted World and the ones like that were especially awesome to yours truly.

A movie so cool, it deserves two screencaps! The title, and the titular monster!

One of my top favorites was an entry in the Sons of Hercules series, a U.S. repackaging of various Sword & Sandal flicks that went straight to television in the 1960s. (Most, if not all, probably had nothing to do with Herc in their homeland, but it was standard practice at the time for U.S. distributors to “link them” nevertheless.)

This particular entry was titled Fire Monsters Against the Son of Hercules, and with a name like that, well, was there any way it wouldn’t be cool? Herc’s ostensible son “Maxus” did indeed fight some monsters in the film, including one near the very start (right). The title was somewhat misleading in that the main plot didn’t really concern them, but hey, it drew me in, and probably 1960s audiences, too.

(The Sons of Hercules films also had a catchy theme song that had, and has, the ability to get stuck in your head for 97 years at a stretch.)


The hours between the 2 PM movie and the 8 PM movie were filled with various programming, syndicated and local. Then at 8 came another “Hollywood Classics” feature from America One. (It should be noted that many of these films were neither from Hollywood nor would they generally be considered classics, but the bumpers surrounding them still made them feel special nevertheless.)

As I said earlier, the 8 PM movie was much like the 2 PM movie; same gamut of genres, though with (as I recall it) far fewer silents. Material better suited to prime time, basically. Some movies ran in both slots, while others, like Winners of the West, I only saw at 8. (Winners of the West was the feature version of a 1940s western serial, and while on the surface that may seem like something better suited to 12:30 PM, its length precluded it from being in that 90 minute time slot.)

Lotsa neat stuff ran at 8. I had a burgeoning interest in “Spaghetti Westerns” in the late-1990s, an extension of both my love of westerns and interest in foreign films I’m sure, and a few still stick with me. For a Few Bullets More (which featured a great theme song and starred Edd “Kookie” Byrnes and Gilbert “Cisco Kid” Roland) and It Can Be Done Amigo especially. There are times even nowadays where when something is asked of me, I’ll answer with an affirmative “It can be done, amigo.” I don’t do it often, and it’s a reference absolutely  nobody gets, but it amuses me, and that’s what counts.

Of course there was the horror & sci-fi that was my bread-and-butter. Monster From Green Hell first became known to me there, as did The Creeping Terror. Also, one of the worst movies I have ever seen, 1970’s Dracula vs. Frankenstein (aka Assignment: Terror). This wasn’t the Al Adamson film of the same name, but rather the Paul Naschy opus, and to this day I find it utterly terrible. (While on the subject, I know he has his fans, so I don’t want to rag on him too much, but I just don’t get the love some have for Paul Naschy’s films. Every single one I’ve seen has been essentially unwatchable.)

At this point I would like to relate my most memorable tale of the 8 PM movie on The CAT, because it’s the very definition of the kind of films they (or rather, America One) could run. Stuff that was incredibly unknown, you had never heard of prior, and was in all likelihood not commercially available. This next story is, to me, the ultimate example of that phenomenon.

One summer night in 1998 (I think it was a Wednesday; I recall Whose Line is it Anyway? was airing on ABC), I stumbled upon such a flick. I had noticed that the 29/35 movie listed for that particular night was titled Mark of the Beast, but there was no date, synopsis, stars or rating given for it in the local channel guide. Okay, evidently the film was mega obscure!

Well, I was hanging out at my aunt’s house that evening, and must have forgotten or was otherwise busy to tune in at the start, but eventually I flipped to 29/35 (side note: The CAT was on channel 14 via Time-Warner basic cable then) to see what exactly this film was. I was greeted with a movie that was in blurry, somewhat-faded color and in which fast-moving and/or bright objects and titles left streaks/imprints across the screen, there was a lot of buzzing/clicking on the soundtrack, and there was odd narration of some sort. I wasn’t able to catch the whole thing that night, but I was severely intrigued; it all seemed so mysterious! Like Mountain Lady, what was this film? Where did it come from?! In retrospect (because there was no way I could have found the appropriate words back then), it almost seemed otherworldly, as if the images on the screen weren’t really supposed to be there. Such were the qualities of the film (or rather, the print of the film), that it actually came off dreamlike; streaky and fleeting.

America One, according to their online schedules back then, would run some movies twice-per-day, and Mark of the Beast was set to repeat during the overnight hours. I set my VCR timer in the hopes that this would be one of those times where what was listed locally wouldn’t match up with what was actually run. Unfortunately, the listing was correct, and I instead got the as-promised 1933 Philo Vance mystery The Kennel Murder Case. Not a bad consolation, as I watched the recording and thought it was a pretty good movie, but nevertheless, my curiosity was only further piqued by the denial of whatever I had seen the evening prior.

VideoHound’s Golden Movie Retriever (a still-continuing movie guide book that, while not as famous as Leonard Maltin’s previously-annual tomes, had much more extensive listings despite specifically being limited to films released on home video formats) told me Mark of the Beast was a mid-1980s flick about an assassination caught on tape. Okay, maybe that’s the movie I saw; I mean, it didn’t sound like what I saw, but I didn’t catch enough of the plot to make any real judgements there. As for the date, what I glimpsed seemed far older than the 1980s; I was figuring mid-to-late-1960s! (Considering I was only 12, I actually wasn’t too far off, though nowadays I’ve become better at sight-dating and would most likely conclude it came from some point in the 1970s.) Could it be that this was one of those rare times where VideoHound didn’t have a certain movie listed?

For whatever reason, I couldn’t deduce what the actual title here was, and actually emailed the question to America One direct. The guy that responded shared my fascination with the movie – as well as the answer I somehow couldn’t come up with myself.

As it turned out, yes. Eventually the movie reran, 8 PM again, in March of 1999 (and in following years late at night, as well – albeit infrequently). The reality of the film was this: A science fiction-tinged Evangelical Christian production about Armageddon, set in a high-tech underground bunker and starring Joe “Guy from Blade Runner” Turkel. And the title wasn’t Mark of the Beast, but rather, a severely-cropped Six-Hundred & Sixty Six (left). Same difference.

And yes, the movie was intensely obscure. For the longest time, there was NO IMDb listing for it at all, which left me to only guess as to its release date or origin. As per IMDb, it was released in 1972 and shown at churches, as you’d expect of an Evangelical Christian production.

Obviously, there’s a strong focus on Biblical prophesy in the movie, and there seems to be a few aspects taken from Orwell’s 1984 as well, mainly in the Big Brother-like portraits of “The Man” (a leader who has organized much of the world into a single entity) hanging all over the compound. Set at some point in the future, the U.S.A. is now the “United States of Europe,” the new Roman Empire. (We all know how the old one turned out, right?) A single world religion and complete obedience is professed by “The Man,” and there’s a war with China going on. The complex where the film takes place is situated under a mountain, the purpose of which is to house all of mankind’s art and achievements on computers in the event of massive warfare, which seems to be at hand. Indeed, nuclear destruction takes place above ground, seemingly leaving only the small group of survivors in the complex, with limited air and not much to do. To pass the time until the inevitable occurs, they begin studying Biblical prophesy and correlating it with major events in world history, from the past to the present day.

Now look, I’m super Catholic, and initially I was worried that with this being an Evangelical production, there’d be some raggin’ on us. Early in the film, when warfare that had taken place at some point beforehand is described, it’s mentioned that many great artistic works were lost, including what was in the Vatican when it was destroyed. Upon hearing that, I was like “aw, here we go…” But, as the film played on, it seemed that that brief instance was meant solely to describe the loss of art and without any ulterior motive. Indeed, late in the movie the Sacré-Cœur in Paris and its parishioners are described in a positive light. So, even though this was an Evangelical production, it doesn’t seem to focus on any single group of Christians, but rather on where Christianity as a whole fits in with regards to the events taking place.

This is not a bad movie. In fact, it’s really, really good. As it plays out, there’s a stronger and stronger emphasis on Christianity, but it never comes across heavy-handed or overly preachy, which is quite an achievement given the subject matter. Obviously it’s not a happy good time flick, but it’s consistently interesting, and the ultra-modern design of the underground complex lends the film a neat sci-fi flair. Terrific acting by all involved as well, and with some pretty famous names attached to the production; Turkel of course, and the frequent voiceovers by “The Man” were provided by none other than Malachi Throne!


Okay, that story told, back to our regularly-scheduled program…

In contrast to the structured weekday movie scheduling, the weekends were a bit of a toss-up on 29/35. For awhile, you could count on one or two B-Westerns on Saturday afternoon, and I remember three airing in a row once. Same basic stuff that aired at 12:30 PM throughout the week. I still recall anticipating an airing of 1934’s Lightning Range one Saturday afternoon, wasting away the hours until it was finally airtime. I really did look forward to constantly “discovering” these flicks!

Sundays were more up in the air though. Oftentimes, there was nothing that stuck out to me, which means that it was probably a wasteland of syndicated shows and infomercials, though don’t quote me on that. There were surprises, however. I remember once catching part of an episode of Lucan, the super-short-lived series from the late-1970s. I never saw the show before or since, and how it wound up airing then and there I couldn’t say. I didn’t catch the end of it, as we had to leave for 4:30 PM Mass, but it was a random occurrence for sure.

Somehow I think this is actually a cooler title than the promised Goliath and the Vampires…

And, movies could show up on Sunday afternoons, as well. I don’t recall them being a regular feature, but they did happen from time to time. Maybe it was every Sunday after all, I don’t remember. I *do* remember that Monster From a Prehistoric Planet first crossed me eyes this way. I didn’t, and don’t, really like the film, but if nothing else, kaiju was/is kaiju. The Sunday afternoon movie that really stands out to me though played into my affection for Sword & Sandal films: Goliath and the Vampires (right). Yep, one of those with horror elements in the plot! Cool winnins!

Oh did I look forward to this one, and despite the on-screen title simply reading The Vampires, this was the type of Sword & Sandal flick that was directly up my alley. And, that Sunday afternoon was the only time I saw it broadcast on 29/35.

(Oddly enough, for having grown up catching movies in the afternoon during those years, nowadays I can’t stand the thought of watching a film during the daytime. To me, movies are nighttime endeavors; the daylight hours should be reserved for TV shows, or, you know, doing something productive.)


Now is a good time to point out that the old feature films weren’t the only thing that kept me coming back again and again. It was actually what could come after said films. You see, the movie time slots were standard 90 minutes, 120 minutes, that sort of thing. BUT, even with commercials, often the films didn’t fill those entire slots. So, The CAT (or more likely America One) would play some unscheduled filler. These could be silent or sound short comedies, old cartoons like Popeye and the like, and once in awhile, even some weird foreign import cartoons. (Rapirea, animated fare ostensibly of Romanian origin and concerning a detective protecting a new invention from marauding thieves, was particularly bizarre, despite supposedly being intended for kids.) You just never knew what you’d get, if you got anything at all; the shorts weren’t a given.

Furthermore, you weren’t always guaranteed a whole short; the end could very well be cut off so that the next, scheduled program could start on time.

My favorites were the silent comedies. It’s thanks to these filler bits that I became a Charlie Chaplin fan. Chaplin’s Mutual Films output was commonly found in these “slots,” and thanks to subjects like The Pawnshop and The Rink, it became sort of a game for me to deduce if a movie looked like it was nearing its end early and a short was likely coming. Even better was when the selections got even older, such as Chaplin’s Face on the Bar Room Floor or His Prehistoric Past; I wasn’t cognizant of where they fell in the time line of his filmography then, and while in retrospect they were nowhere near as good as the polished Mutuals, but at the time I was just happy to see more new old Charlie Chaplin.

(Once again, Best Buy’s $2.99 VHS section came to the rescue, as I happily snapped up the few Chaplin tapes they had there.)

Is that Chaplin’s Tramp? Guess again! It’s Billy West as “The Hobo.”

Some really unexpected shorts could show up as filler, and one particularly stands out to me because it wasn’t Chaplin, but it wanted to be. Billy West’s The Hobo was a Chaplin knock-off, featuring a titular character that really, really looked like Charlie’s Tramp. There were times when I wasn’t sure that it wasn’t a Chaplin feature, renamed for whatever reason. But no, it was a legit rip-off; an entertaining rip-off, but a rip-off nonetheless. (Furthermore, the print utilized featured narration added in the talkie era, with a voiceover that was the very definition of “jolly.”)

Offbeat stuff like that absolutely sums up my fascination with the potential post-movie short subjects.


So far, most, if not all, of the movies I’ve talked about were America One sourced, and merely being syndicated on The CAT. There were exceptions though, and they came during the holidays. I’ve talked about these instances before, here and here. For the sake of completeness, we kinda sorta have to hit these points again, however. That’s okay though, cause they mean a lot to me.

You’ve probably heard of this movie, right?

Every Halloween, unless it was Son of Ghoul night, The CAT would cut into whatever America One had scheduled at 8 PM and instead run what, near as I could tell, was one of their own films. Yep, it appeared 29/35 had their very own copy of Night of the Living Dead.

You have no idea (well actually, you probably do) how perfect this was come Halloween time. The print of Night that 29/35 was pretty worn, lotsa scratches and whatnot. I’ve described this before on the blog; a well-used copy of Night of the Living Dead can be just as effective, if not more so, than a pristine one. To me, it feels more nightmarish that way. It fit so nicely with the local vibes the channel projected year-round anyway; truth be told, when it comes to “Halloween movie” memories, catching Night this way on The CAT is one of my favorites. They weren’t unique in this area, just about everyone plays this movie come October, but to have one of the Halloween movies played annually on our channel, you just couldn’t beat it.

Same feelings come December too, though of course modified for the season (duh!). This was an even bigger deal to me than Halloween, and the source of some of my favorite Christmas memories growing up.

Every Christmas Eve, The CAT went all out: 1935’s Scrooge, followed by 1940’s Beyond Tomorrow. Not only was it an appropriate double-feature, but the movies were commercial-free, too. This was not something usually done on the station, so it felt all the more special. (Funny thing is this would have worked even with commercials.)

You’ve probably heard of this guy, right?

I never paid much attention to Beyond Tomorrow, but I was all about Scrooge. This was the ’35 British production starring Seymour Hicks, and while most critics wouldn’t list it as the best film version of Charles Dickens’ A Christmas Carol, it has always been my go-to adaption. Almost certainly because The CAT played it every year, but for me, that’s all it takes. (Like Night of the Living Dead, the print of Scrooge utilized by The CAT was pretty worn, pretty scratchy, but in my opinion that just added to the “old timey Christmas” feeling the film projected.)

Let me see if I can paint an accurate picture of this. I have this memory of Christmas Eve, the living room dark except for the illumination given off by the lights on the tree, a gentle feeling abounding, and Scrooge playing on the TV in the background. The hustle of Christmas shopping was done, it had all come down to this night, I was still young enough to be jazzed for Christmas morning. A lot has (needless to say) changed since then, but I still carry those mental images with me. I hope I always will.


If you were watching The CAT and/or America One in the late-90s/early-2000s, you knew who Alan Stone was.

We’re, or rather I’m, nearing the end of the journey here, but I can’t finish up my look at The CAT without mentioning the host that was seen so often on the channel: America One’s movie host, Alan Stone. (Allan? Allen? His name was never superimposed on screen!)

Alan was cool, man; not only did he host the 12:30 PM western and 2 & 8 PM movies, but he also gave out some great info regarding a feature. He could also be really funny. America One had a film library you could purchase from direct, and occasionally the service would be pitched at the end of a broadcast. I remember once they ran some terrible vampire film, and at the end, Alan point-blank stated something along the lines of “You probably didn’t enjoy this film, but here’s how you can order movies you will enjoy…” In his Texas drawl and with perfect delivery, it was hilarious!

Speaking of that film library, I did once send away for A-1’s free catalog. I unfortunately never bought anything from them (I now wish I had), but in retrospect, I’m glad I got the catalog.

As you can see to your left here, I recently dug it out – just to take a picture for this post. It’s pretty neat to thumb through, though it appears that it only includes their (not inconsiderable) collection of western titles. Probably because that stuff is pretty much all public domain; most of it was B-Western, though I did spot 1949’s Tulsa included (which is PD, as well). I didn’t notice anything non-western listed, though I guess I could’ve missed it – there was a lot in there!

I actually can’t believe this thing survived all these years. For awhile there, I figured it was long gone, until a relatively-recent dig through my “comic box” turned it up. (The “comic box” is a big huge plastic container I’ve had for decades that became the receptacle for my comic book collection and assorted pieces of memorabilia; lobby cards, autographed photos, and other miscellaneous items…stuff not unlike the A-1 catalog.)

I like my America One catalog, but there was one other catalog from a program on the channel (and thus, 29/35) that, in hindsight, I wish I would have mailed away for…

The classic Enigma Theater set and host… (1999?)

Enigma Theater with Edward St. Pe’ was A-1’s horror host showcase. I’m not sure if the time slot it aired in varied from location to location, but here in Northeast Ohio, it ran late, late Saturday nights – technically Sunday mornings. I can’t recall how long it was on around here; I want to say 1998 to 2000, but I could be all sorts of wrong there.

In sharp contrast to the local horror host offerings I was used to, Enigma Theater was much more straightforward; no wacky skits or the like. St. Pe’ would come out, introduce the film, give some info about it, maybe show a few clips, and then he’d just have brief segments throughout afterwards, sometimes pitching the Enigma Theater catalog and related videos for sale. I don’t know exactly what the catalog contained, because I didn’t have the foresight to get one, but today it sounds like something I’d absolutely love to have in my collection.

Enigma Theater had a pretty far-reaching range of films, too. There was the obvious stuff, like The Corpse Vanishes, but also some real surprises, like The Invisible Dr. Mabuse, Circus of Fear, and The Vampire People. Movies that didn’t always pop up on these types of shows. And at the time, it was one of the few nationally-televised horror hosted programs left. That number has since gone back up some, but still, it was relatively unique in that era. I wonder when it started and how long it ran?

I don’t know when Enigma Theater ended, but I know when my first association with The CAT did…


Everything I’ve talked about so far has been from my preferred era of The CAT, 1997-2000. Of course it’s my preferred era though; that’s when I grew up watching it! Unfortunately, that era ended for me at a later point in 2000. You see, to satisfactorily get the channel around here, you had to pay for basic channels. Not even specifically cable, just the ‘regular’ channels. After awhile, that gets pricey, especially since it wasn’t really necessary; all the local channels were free over-the-air. Eventually that was the route dad decided to take, the rabbit ears route. This was all well and good; we still got most of the stations I watched, and while the reception varied, most of it was watchable…

…Except The CAT. The sad fact of the matter was that 29/35 barely came through with rabbit ears. It was a sea of static, with only the vaguest of images in the background and no sound beyond said static. In other words, unwatchable in my neck of the woods via rabbit ear antennas. I was not particularly happy with this situation, but having even less money than I do now (and that’s really saying something), I didn’t have much choice in the matter.

All of sudden, The Son of Ghoul Show, the B-Westerns, and all of the old movies that had made up a large, large chunk of my entertainment at the time were barred to me, and that wasn’t good. On the bright side, this did give me a chance to further explore the other channels available to me, and thus over the following years I was able to more-fully appreciate Big Chuck & Lil’ John, David Letterman, and Saturday Night Live. I even discovered M*A*S*H in this era, which in very short order became one of my absolute top favorite shows of all-time.

Still, I obviously missed, and missed out on, a lot of what was happening on The CAT. Son of Ghoul got his own live call-in game show that ran for several years – and which I missed almost entirely. In fact, I saw little more than scattered glimpses and a promo. How’d I even see that promo? It’s a tale that actually goes back to around 1998…

One weekend afternoon, 29/35/America One ran the 1934 B-Western The Tonto Kid. I caught the film then, and kept waiting for it to show back up afterwards, but it never did – until late 2001.

I must have still kept regular tabs on what was running locally then, because when I saw The Tonto Kid finally pop back up on the schedule, I had to see it. It wasn’t a hand I wanted to play too often, but this was a (personal) big one, so on a weekday afternoon, I went to grandma’s house to catch it. The reception was still pretty fuzzy, but unlike home, the channel was watchable.

First off, The Tonto Kid is a great B-Western, a Rex Bell vehicle that is pretty unknown but a lot of fun. And, it’s lapsed into the public domain, which means that copies nowadays are fairly easy to find. But back then, for 99% of people, the rare television airing was the only viable option to see it.

All was not perfect with the occasion however, and I’m not just talkin’ about the reception, either. In the year or so since I had last watched The CAT, a lot had changed. The Tonto Kid was part of some new western theater presentation – gone was Alan Stone from at least this program, and maybe altogether. In his place was Red Steagall. Even all of the America One graphics and bumpers were new compared to what I had last seen. It was all just such a gearshift. None of it was bad at all, it’s just that I’ve never liked being taken out of my comfort zone, and for me, this was all so sudden.


Over the next few years, I caught other scattered bits of the channel, usually at grandma’s after school, and then in 2006 we finally took the cable plunge again. Son of Ghoul’s time had been shifted around some, at one point airing on Thursday afternoons (in addition to the normal Friday evening broadcast), which was a shocker, though it was alleviated somewhat by a selection of old television programs that were new to me; Meet Corliss Archer and Love That Bob were, are, awesome, shows.

Yes, Magnum was part of RTV’s line-up, and it was AWESOME, especially when we got local ads for it featuring the modified 29/35 logo! (2011)

And then, things really got shaken up, when “The CAT” became “RTV.” That is, Retro Television, a national channel specializing in classic TV. 29/35 became our local affiliate, and while a lot of the local flavor of the station ended with the switch, I gotta say, it was pretty cool. Magnum, P.I., Quincy, M.E., Knight Rider, Airwolf, The Incredible Hulk, Emergency!, and even horror hosting via Wolfman Mac’s Chiller Drive-In and Off Beat Cinema got airtime on RTV. And as we saw a few years ago, RTV became the-then sole place to catch reruns of Mystery Science Theater 3000 on real television. So, it wasn’t The CAT anymore, but RTV was pretty derned good to viewers, too. I just wish I could still watch it, man! (No joke; I’m missing the 1970s Soupy Sales Show they were rerunning when they left local airwaves.)


Goofball (me) on the left, the famous Brett Van Wagner on the right.

At this point, I’d like to turn things over to our good friend Brett Van Wagner, who helped out enormously with his contribution to the big Son of Ghoul 30th anniversary post. Just like me, Brett grew up with all this stuff – one of the few people I know who did! We didn’t know each other back then, but we had similar childhoods, and believe it or not, we were born only two days apart! A few years ago, we met entirely through the blog here, and quickly became friends. Brett doesn’t live in Ohio anymore, but he makes occasional trips back, and on his latest visit, we finally met up in person; we chatted so often, it almost felt like a formality! Brett is indeed a cool cat, and it’s an honor and a privilege to let him tell his story now:

My memories of THE CAT stretch back to 1997. That was the year I discovered Son of Ghoul, as well as this little local TV station that I quickly discovered was owned by the same folks that owned local talk radio station WNIR. Looking back, it is so cool that we had such a gem of a local television station on two different frequencies to cover so much of Northeast Ohio. It was definitely low power and low budget, but it featured a great mix of local content and some cool retro stuff that you couldn’t really find anywhere else.
I remember the bumpers between shows… the still shot of the Rock and Roll Hall of Fame. I remember seeing the ads for “Beats 2 The Rhyme,” which would air “Friday nights at 12:30,” and the literal side of my brain always wanted to correct it to “Saturday mornings at 12:30”
Of course, huge props to THE CAT for giving Son of Ghoul a home for more than half of his career, as well as trying new stuff like the Son of Ghoul’s House of Fun and Games. Without SOG, I would never have followed such a cool and unique local TV station. I know it’s still around as a Retro TV affiliate these days, but where else could you find shows such as Dining Out With Steve programmed alongside Dobie Gillis reruns, a knockoff of Baywatch, a local horror host, and plenty of classic movies. It is always nice to share memories of THE CAT with my friend the Video Hunter – and to know I wasn’t the only one that followed the station so closely!

And with that, our big huge retrospective on WAOH TV-29 in Akron, WAX TV-35 in Cleveland nears an end. What a long journey it has been, and not just in the length of this monster article, either. Few channels and their content have been as important to me. Even though the station still exists in an altered form, the last piece The CAT has exited the arena. TV-29 has split, and with it, an indelible piece of my childhood.

I certainly hope one day Spectrum adds W16DO to their Akron line-up. For some time after 29 left, the screen you’re seeing right here is all I got when I flipped to the channel. Seems like wasted space to me, but then, I have no say or knowledge of the inner workings of cable line-ups; maybe it’s not an easy thing to make happen, I don’t know.

But then, even if it did come back around here, it still wouldn’t be The CAT of my youth. The CAT as I knew it, The CAT that fanned the flames of my cinematic fascination, The CAT that truly lead me to a genuine understanding and appreciation of local broadcasting, that CAT was basically gone in 2009 when it became RTV.

But then, things change. Heck, I’ve obviously changed over the years, too. That’s just the way it goes. Maybe some kid that discovered the station in 2002 or whenever holds the same nostalgic memories as I do for 1997-2000; I know this article is heavily based on my perception, but then, I don’t have a whole lot else to go on.

But it’s those memories, I think more than anything else, that’s so important here. If nothing else, I’ve got those.

Fare thee well, WAOH TV-29!

(Have a happy and safe New Year, gang! See you in 2018!)

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.)

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

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

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

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

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

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

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

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

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

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He sure wasn’t kidding, either!

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

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

“The Oooodlubb—“

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

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

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

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

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

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

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

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

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

(Full disclosure: I still kinda like Urkel.)

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Mail time!

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

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

BUT, it’s the third letter read that I find the most interest in. It’s basically a fan letter, telling SOG how much they love watching him, but the question of how they can find out where SOG is appearing in-person (answer: “WATCH THE SHOW!!!!”) leads to the announcement of his double-feature matinee at the Highland Theatre (more on that in a bit), as well as…

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The personal slant I mentioned earlier!

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

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

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

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

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

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

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

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

I’m pretty sure I saw Space Jam at the Highland, though I don’t think I’ve been back since.

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

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

And no, that info in the screencap above isn’t still valid.

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

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

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


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

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

Quaker Square Christmas Village Ad

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

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

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

Princess Diana Commemorative Stamps Ad

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

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

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

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

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

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

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

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

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

JC Comics & Cards Christmas Ad

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

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

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

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


Alright, enough.

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

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

R.I.P. Jim Chenot

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

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

He was also my friend.

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

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

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

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

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