Tag Archives: overview

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.)

The CBS / Diet Coke Sneak Peak Promo VHS (1997)

Look at this incredible piece of 1990s television and VHS memorabilia!

This isn’t a super recent find; I came across it at a thrift store some months back, but man, I knew, knew it had to come home with me. And so it did! The content is right up my alley, and it’s still sealed, too! The price? Under a buck! Cool winnins!

As you can see, it’s a promotional VHS presented by both Diet Coke and CBS, given out in advance of the 1997 television season. Yep, this was the fall line-up on CBS! While out and about hunting for tapes, sometimes it’s easy for me to forget how neat they can be, especially after passing the 9000th copy of Titanic, but this is definitely one of the good’uns.

What’s really amazing about this, from a personal standpoint, is that even though I myself didn’t own this video back in the day, I remember so much of that ’97 CBS line-up. Even what I didn’t watch myself, I vividly recall being ‘around’ nevertheless. Advertisements in TV Guide and what have you.

But listen, this isn’t going to be a big huge full in-depth review of the tape, and for one very simple reason: I refuse to crack the shrinkwrap, man! I just can’t do it. I’ve never come across one of these before, and currently there’s only one like it on eBay…for a whopping $35! Whether that means it’s actually rare or not, I couldn’t say, though I doubt it; there was a time when preview cassettes (and later, DVDs) like this were fairly commonplace. Maybe still are, I don’t know. Nevertheless, my copy is going to stay minty sealed fresh – though I’m stretching the term minty here, since my copy is a little beat-up and dirty. Evidently someone did not appreciate the majesty of this tape the way yours truly does!

(Looking on eBay, it appears CBS released preview tapes such as this for several years. I’m not going to say I’ll go out of my way for any others, but should I come across them while thrifting, well, that’s a no-brainer purchase for sure.)

So, the front cover. The whole thing is apparently hosted by Ray Romano, whose sitcom Everybody Loves Raymond was steadily picking up steam around that time, if it hadn’t already. That was the season I started watching his show, though it was near the end of the year; actually, I think it had hit summer reruns when I first jumped on board. Anyway, it’s interesting to look back at the show in its earlier years; eventually it would be the cornerstone of CBS’ powerhouse Monday night line-up of sitcoms. (I watched the show avidly for years, though truth be told, it hasn’t worn particularly well for me.)

Cybill, the appropriately-named sitcom starring Cybill Shepherd, I never watched back in the day, though I caught some syndicated episodes in more recent times. Dellaventura and Michael Hayes were and are unknown to me outside of this cover, though the latter appears to feature David Caruso in some capacity, and that just puts the whole CSI: Miami pre-credits-pun thing in my head.

However, it’s the appropriate pictorial references to Meego and The Gregory Hines Show, neither of which I ever recall watching, that provide the real reason I’m so excited to own this tape. Y’see, there’s one very specific factor that makes this VHS a must-own, and it ain’t Ray Barone. Rather, the answer is found in Meego and Gregory The Hines Show, or to be precise, the block they were a part of…

Do ya see it?! Urkel! Yes, URKEL! The presence of Steve Urkel can only mean one thing: A Friday night block of sitcoms aimed at kids too young to go out and do anything else. That’s the pool CBS was jumping in that fall, and Family Matters was jumping with them.

Y’see, ABC’s Friday night sitcoms, deemed TGIF, was a big deal for quite some time. I absolutely grew up with it, and there’s a good chance you did too. I certainly have my share of nostalgic memories pertaining to the line-up (well, various line-ups), though in this more jaded day and age, it may be hard for some modern audiences to understand just why TGIF was such a dominate force. It was though, and while by no means was he the only reason, a big, big factor in that TGIF dominance was indeed Steve Urkel.

Meant to be a one-time-only character on a show that was supposedly facing cancellation, Jaleel White’s uber-nerd Steve Urkel instead became the de facto face of Family Matters and, for a time, a legit cultural phenom. Dude totally saved the series, stole the spotlight from ostensible star Al Powell Reginald Vel Johnson, got his own dolls, his own cereal, even his own novelty dance! Mystery Science Theater 3000 later brilliantly ripped into the (inexplicable?) phenomenon, and admittedly the Urkel character grew tiresome (and the storylines of Family Matters more insane) as the series progressed into the mid and late-1990s, but there’s no denying that, for a few years there, Urkel was one of the faces of ’90s television.

But you know what? I still like Family Matters! Oh sure, much of that has to do with nostalgia, the show was a big part of my childhood for sure, but as dumb (and crazy) as it could occasionally be, I still find myself enjoying it when I watch nowadays. Indeed, I’d say Family Matters is the definitive TGIF show, or at least tied with Boy Meets World. (Sorry Full House, you lose.) If you didn’t grow up during the 1990s, I’m not sure you’d get it, but those of us that were there, we know. Maybe. I do, at any rate.

ANYWAY, for the fall of ’97 CBS managed to snag Family Matters and other-TGIF-mainstay Step By Step from ABC and used them to headline the “CBS Block Party,” their very own attempt at a TGIF-ish line-up. Truth be told, both shows, and TGIF in general, were a little long-in-the-tooth by 1997 (and in my particular case, I was about to discover Son of Ghoul, which left little time for anything else Friday evenings), but there was a residual name-factor at play, so along with Meego and The Gregory Hines Show, CBS acquired Family Matters and Step By Step and proceeded to take TGIF head-on.

Annnnd it didn’t really work. None of the shows lasted beyond that season – some spectacularly so (Meego only made it six episodes!). Family Matters wound up being placed on hiatus mid-season, with the remaining episodes burned off during the summer of ’98. Still, despite the ultimate failure, as an experiment in late-90s programming and featuring two very 1990s shows, the CBS Block Party is an interesting subject to look back on, if nothing else. (Furthermore, while TGIF lived on, it was never really the same, though Boy Meets World continued to fight the good fight).

And that my friends is why this tape is such an important find for yours truly: It represents a piece of nostalgia tied directly into a programming experiment that ultimately didn’t fly. I couldn’t ask for anything more!

But what about the other shows promoted on the back cover of the tape? The Bryant Gumbel thing and Brooklyn South, I can’t say much about those. But Cosby and George & Leo I absolutely remember. Coming a few years after his previous, far more popular sitcom, Cosby I caught now and then, but frankly never thought it was very good. George & Leo, however, I liked a lot. It only lasted that single season, but I enjoyed it, and looking back, it was my first entry into what would end up being an endearing Bob Newhart fandom, though I wasn’t cognizant of that at the time.

So seeing all that plastered on the tape is an added bonus for me. Steve Urkel and Bob Newhart sharing the same stage? Did that ever happen prior? Or after, for that matter? Thas history, man.

Anyway, dig the helpfully included schedule on the back cover; it’s a veritable study in late-1990s television, albeit a CBS-centric one. (Well duh!) The only thing missing is David Letterman’s goofy smile to complete the package, though since this was the prime time line-up, his exclusion is understandable. Disregarding the shows I just don’t know much about, there’s not a whole lot listed that I actively hate. Except The Nanny. I detest The Nanny and always have. Also, I wonder how Don Johnson felt about Nash Bridges getting Step By Step as a lead-in? That’s not exactly a seamless transition!

Finally, I love the big WKBN TV-27 Youngstown sticker slapped on the back, even if they’re not quite my CBS affiliate (a WOIO sticker would have made this the ultimate). This isn’t unusual; the $35 copy on eBay demonstrates a sticker from the respective television market that one hails from, so tailoring these to local needs was evidently the norm. I would imagine this tape was made available for cheap (free?) in video stores, supermarkets, wherever VHS tapes were sold in WKBN’s market. I remember getting an NBC fall preview DVD in the early/mid-2000s at Best Buy, so I’ll go with that mindset regarding this CBS VHS.

On the surface, this may not seem like a “big” find, and in the grand scheme things, or at least in the grand scheme of my disturbingly large video collection, I guess it’s not. Nevertheless, it’s still amazing how this one transports me right back to the fall of 1997. Man, (I was in 5th grade! That’s mind-blowing to realize!) It’s a cool promotional representation of network television in the late-1990s, including some throwbacks to the earlier-1990s, as part of a TV experiment that ultimately didn’t take. Add in the looks at the shows that did take, and you’ve got an invaluable view of a very specific era in broadcasting. And I’m just going by the sleeve! I can only imagine what it’s like actually watching this!

I don’t know, maybe I should crack the shrinkwrap? Or do I dare hold out hope for a double instead? Oh the decisions that I must face!

Panasonic Omnivision Hi-Fi VHS VCR PV-1730 (February 26, 1985)

See, I didn’t take April off. Just most of it.

I’ve been a busy Video Hunter this past month, and the sad fact of the matter is I’ve had neither the time nor, to be quite honest, the inclination to put together a ‘big’ article. The reasons for this are several, though I won’t bother to go in to them. Still, I wanted to get something up before April ended, lest y’all think I abandoned the site and, by extension, you. Never let it be said that I don’t care, because I do, I do care!

Anyway, this isn’t going to be a long post, and truth be told, you can consider it more of a stop-gap entry than anything. BUT, that doesn’t mean I don’t like the subject, because I most certainly do. Dig this: From early 1985 (February 26, as per the back), it’s one of Panasonic’s famous Omnivision VHS VCRs, and boy, is this one technologically advanced – well, it was 32 years ago, anyway. Behold the PV-1730! A slick, feature-packed Hi-Fi stereo deck that had the capability to blow your face off – well, it did 32 years ago, anyway.

The best way I can describe this VCR is “heavy duty.” It just feels like a real product, a high-tech, ostensibly end-all be-all addition to the home entertainment center. And that silver casing that flies in the face of the predominantly-black styles of so, so many other VCRs? Looks sharp, man. Is it wrong that I can see this machine being used as decoration in some episode of Miami Vice? Maybe it was.

However, this deck doesn’t quite work correctly, though it mostly does; it powers up, it registers whatever button I slam my paws against, it fast-forwards, it rewinds. The only problem is it doesn’t like to play. Not consistently, anyway. Sometimes I can get it to go and it will run for a period before stopping, but other times it will play for only a moment or two before it takes a powder. I have several ideas as to what the problem is, but it’s not like this is going to be my daily driver; honestly, I picked this machine up simply because of the supreme mid-1980s-ness it exudes. I didn’t even bother taking a screencaps of something playing on it, because it just doesn’t matter.

(So why even bring it home? I love the the era of electronics it so deftly defines, and besides, even if it doesn’t work 100% right now, I always grab these with an eye towards getting them repaired at some unknown point in the future. But really, it all comes to down to the looks and features – even if none of them really mean anything in this day and age. It’s this same mentality that got me my swanky Sylvania VCR.)

Luckily, I got the thing to play for most of my picture-taking session. The display is pretty nice and bright, and while I hate the old school “counter” system, this machine rectifies that with giving the exact minutes and seconds too, which makes it my friend.

You can barely see it, but there’s a sticker stating this was one of Panasonic’s “Tech 4” models, always a welcome sight to yours truly. Indeed, one of the best VCRs I ever found was a 1986 Omnivision “Tech 4” that works flawlessly and may have even more features than this deck. I keep that one on a figurative pedestal because I’m weird.

See that panel at the bottom? It opens up, and oh what it harbors just beneath the hood…

BOOM.

Here’s your station for “One-Touch Recording,” along with the ability to set the OTR timer, as you’d expect. Also, not one but two tracking-control knobs, nifty left and right audio controls, a switch for recording in all three speeds, and Dolby noise reduction.

Now see, I didn’t grow up with, or at least didn’t grow up using, VCRs with such a now-convoluted recording scheme; I came around, thankfully, when that set-up had been reduced to on-screen displays and programmed with the remote. As such, the thought of setting a timer with this system kinda makes my head swim. I could have mastered it, I could still master it, but luckily, I’ll never have to!

Hold on, there’s more to it!

On top of the unit there’s a flip-up panel with controls for picture sharpness, regular TV or cable TV, display options, and so on. Sorry this pic is alternately too bright and too dark; this was about as satisfactory a picture as I was going to get.

Also, V-Lock for SP and SLP? That’s a new one on me. They’re probably found on some of my other VCRs, but if so, I never paid much attention – what exactly is that? “Vertical Lock?” Is that like the “Vertical Hold” on old TVs?

You know what attracted me most to this unit when I first came across it? That “Hi-Fi Audio HD” declaration above. It may not mean anything anymore, but man does that just sound completely top-of-the-line for the time. For the time? Heck, to me that still sounds cool!

Besides the ‘normal’ controls for playing and recording, you’ve also got plenty of audio features, including audio dub, and needless to say, the audio levels meter I always love seeing on these old models.

Along the back are the expected microphone inputs and whatnot and the television hook-ups, but what I really get a kick out of is the “Pay TV” knob; I’m not even sure what it does, but it almost doesn’t matter, because it’s such a neat mid-1980s throwback. I said the same thing about the previously-linked Sylvania VCR, so anyone with the appropriate knowledge wanna fill me in? Hit the comments section!

More inputs/outputs, including handy ports for a camera. The “Editing” plug has me curious, though the declaration of “See Manual” feels like a diss; I don’t have the manual, VCR! Thrift store finds rarely include them, and as such I’m performing a lot of guesswork (such as it is) with some of these features. There’s probably a PDF of the manual online somewhere, but frankly, searching it out is too much work for a stop-gap post that approximately three people are going to read anyway.

So, just where did I get this beast? I honestly couldn’t remember until I dug the machine out and noticed the “$8.00 Y” price written in marker. “Y” stood for “Yellow,” which means I got this from some Village Thrift somewhere. Evidently I never did much with this machine upon getting it home, since I hadn’t even bothered to clean that off! Nope, it had just been sitting in my stack of VCRs, staring at me, day in, day out, wondering why I shun it so. Until today anyway, when I decided I should probably write a token post for April 2017.

So there it is, a Panasonic VHS VCR, loaded with options and still looking darn cool to boot. This was one of those finds I buy based solely on looks, features and “aura.” I grab things like this all the time, and even though I usually never do all that much with them, I love having them, simply because of the era in electronics that they represent.

There. Gap = Stopped!

Beefin’ Up My Sega Genesis!

sega1

“WELCOME TO THE NEXT LEVEL.”

So said the ads of the 1990s, and here, now, some 22 years or so after I should have gotten all that I could out of the system, I feel I have finally, finally reached that mythical “next level.” Bear with me for the duration of this post gang, because I’m about to incoherently babble about the quest and ultimate fulfillment of getting all that I possibly could out of my trusty Sega.

Now, you have no idea how much I love the Sega Genesis (known as the Sega Megadrive everywhere but in the US; it’ll always be a Genesis to me, deal with it bucky). Indeed, in the realm of my personal favorite video game consoles, the Genny is second only to the Nintendo Entertainment System; no two other systems hold quite such an esteemed place in this heart of mine, dubious honor that may be. In fact, the Genesis has the distinction of being the first console I ever purchased new with my own money, at the long-gone and much-missed Sun Electronics store that once resided a short distance from me. Ah, the 1990s!

Even though the Genesis alone is more than enough to rank among my top favorite systems, the fact that it can be expanded, and expanded mightily, only adds to the personal appeal. So then, just how do you go about beefin’ the console to maximum capacity? What more could possibly be added to what is generally considered one of the greatest video game systems of all-time? Well, by doing what so many gamers back in the 1990s did (or so Sega hoped), and what so many gamers continue to do (or so I hope): I’ve attached the Sega CD and Sega 32x add-ons to my console, that’s what I did! Look up above if you don’t believe me!

“y u doin this bro?”

It’s a question classic gamers probably wouldn’t ask, even though the CD and 32x add-ons, or more specifically their libraries, are often considered, well, kinda negligible. The gaming world at large, I’m not sure they’d get it, but since I give 0 about the current generation of consoles, and never stopped loving the systems I grew up with besides, this just feels right. Plus, this fits in to the current wave of 1990s nostalgia I’ve been riding as of late; even though I didn’t own these add-ons new back in the day, I still fully expect to continuously check my watch to make sure Boy Meets World hasn’t started yet whilst playing this big hulking mound of plastic.

“Wuts a cd 32x bro?”

As you may surmise, the Sega CD was an attachment that allowed for bigger, more powerful games and CD-quality soundtracks via, say it with me, compact discs. The 32x was a cartridge-based attachment that, as you also may surmise, gave the Genesis 32-bit capabilities and thus even bigger, more powerful games. Theoretically, anyway; general consensus is that neither attachment lived up to their potential on a regular basis, and I’m not sure I’d have been happy with them had I paid full price back in the day. Now though? There’s enough good stuff to make me feel I got my money’s worth – especially since I got ’em on the cheap years ago.

I had only limited experience with the add-ons prior; my cousin had both, and I recall once playing Sewer Shark on the CD and Star Wars Arcade on the 32x at his house, way back in 1995 or so. For all intents and purposes however, getting these attached to my Genesis was my first real experience with them, and therein lies my tale. So read on! (And please ignore some of the dust I neglected to clean before snapping photos; frankly, you’re lucky I even gave a cursory soft-cloth wipe-down before taking pictures.)

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Anyone reading almost undoubtedly has to know what a Sega Genesis looks like. For the .01% of you that don’t, up above is a model 1 Sega Genesis – bare, naked, unbeefed. This isn’t the Sega that I regularly use, and thus isn’t quite the subject of this post. Rather, this is just a spare I’ve wound up with. What, you thought I was gonna unplug all of the attachments just to get a photo of my “playing” Sega without the, as you would say, accoutrements? Think again, chief.

Actually, the system above was the console that the CD and 32x attachments originally came with. I picked the whole set up cheap at a thrift store in late-2010 – and then proceeded to do nothing with any of it. Despite the included mess of cords, I still didn’t think I had all of the necessary attachments, and it promptly became part of the messy mosaic of boxes that made (make) up my increasingly cluttered basement. I never regretted the purchase, because hey, most of the stuff was there, and the price was definitely right (especially compared to the climbing 16-bit prices nowadays), but it wasn’t until recent months that I decided to do something with the lot.

Y’see, the Genesis that I normally use, another model 1 which I picked up years ago at a rummage sale (to the best of my recollection), I’ve kept hooked up as my “playing” unit for quite some time. The room where I have it includes a big, beautiful, vintage Sony Trinitron CRT TV, with built-in speakers on its sides and a stand that also serves as another speaker. It’s my “go-to” classic gaming TV, and for awhile, I had a myriad of consoles daisy chained to it. Eventually I decided to declutter, and instituted a personal “only one system at a time!” rule for the TV, with the beater Genesis getting the nod. That’s the place it has held ever since, and luckily, my pretentious little rule doesn’t preclude add-ons, since it’s still technically only one console. This is important stuff, so pay attention.

I went with the Genesis as my console of normative choice simply because I have stacks and stacks of games (a library that includes more than a few all-time favorites), I’ve got plenty of spare consoles should this one die (yeah, like these things won’t outlive us), and there’s a lot of bases covered by it; legit 16-bit gaming, of course, but also 8-bit via the Sega Master System converter (the SMS is a system I absolutely adore and thus this aspect was a huge factor in my decision), plus, needless to say, now CD and 32x games are in the mix, too. Sega was the king of add-ons in the 1990s, and while that ultimately had a large part in crippling their future (more on that momentarily), for me right now, I love the options at my disposal.

So, as I steadily decided to expand my “playing” Genesis, I simply removed from that thrift store buy what I wanted to use on my ‘good’ console. I initially didn’t intend on using all of it, which I’ll explain in a bit.

When I bought my first Genesis new way back when, it was a model 2; a smaller, sleeker, more streamlined beast. I loved it, and still have it of course, but even then I liked the look of the first model more. There are certain positives and negatives regarding both variations, though the model 1 is easily my preferred choice – especially since the the SMS converter won’t fit on a model 2!

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Though not really the subject of this post, I mentioned that whole model 1/model 2 thing just now because the Master System adapter, the Power Base Converter, really did play a part when I was thinkin’ ’bout beefin.’

Via this converter, my SMS library has probably gotten just as much playtime as my Genesis games have. Now, I have an actual SMS, but again, that would require two consoles being out, which would start me on the slippery slope towards cluttering up mah space again. The Power Base Converter does pretty much everything a ‘real’ SMS can do (no built-in game, though), and aside from a few (but just a few) games not liking a Genesis controller (gotta use a legit SMS pad for Bomber Raid, dawg), I have no issues with it. Indeed, I love the lil’ feller, and it fills me with a burning rage that it kinda flies under the radar when the subject of Genesis add-ons are brought up at sophisticated dinner parties and whatnot.

So what was my concern regarding the converter? From how I understand it, the adapter basically acts as a pass-through, and all of the stuff to make an SMS game ‘go’ is already in the Genesis. However, when you attach a 32x, which allows you to play regular Genesis games through it (lest you have to un-hook & re-hook the thing every time the 16-bit fancy strikes you), I guess it somehow disables the whatever that allows the Power Base Converter to function. This hurts me deep, even if plugging the converter into the 32x would make the set-up the ugliest monstrosity in console history. The Genny ain’t exactly winning any awards in that area when all beefed up like this, anyway.

Simply put, taking the Power Base Converter out of the equation was not an option. This was non-negotiable. Luckily, I worked out a solution that, while still requiring some unplugging and whatnot, at least keeps my SMS-capabilities on the table; I will not bar myself from readily-accessible Rambo: First Blood Part II! (The SMS game I mean, not the movie – though I won’t bar myself from the flick, either.)

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What got this whole “Ah wanna upgrade mah Sega” thing started was actually the CD. Not Sega’s CD attachment, mind you, but rather the Turbografx-16’s. Or rather, the later TurboDuo combo console. I had been reflecting on my good fortune in obtaining the Duo several years back (it was still pretty expensive, but not “hold your head in your hands and weep bitterly” expensive like it is now), when I realized, hey, I play my Genesis much more than anything right now, so why not take the Sega CD plunge and expand a bit?

My first thought was to pick up a model 1 Sega CD, which was a big hulking unit with a motorized disc tray, and which sat directly beneath the Genesis. I had a chance to pick one of those up (with yet another Genesis) several years back too, at a decent-compared-to-now price, but unlike my TurboDuo, I failed to use my bean and decided against it. Mistake.

In all honestly, at first I didn’t even think of using the model 2 Sega CD that I already had and was currently languishing somewhere in my basement. Eventually, the gears started turning in my noodle, I dug the thing out, and I went to figure out how I could make it “go.” Initially, I only intended it as a placeholder until I could find a halfway-reasonable model 1 CD, and while I won’t say that option is completely off the table, I’d have to come across an original unit in-person and for a great price to make me drop some of my increasingly limited dough on it.

The model 1 Sega CD was first released in the US in 1992, and a year or so later, the redesigned model 2 CD came. Primarily intended for use with the Genesis model 2, the second iteration of the Sega CD used a pop-up disc tray lid and sat next to the Genesis. Luckily for me, this revised Sega CD works just fine with the model 1 Genesis. (Which makes sense, since it came with one when I first brought it home!)

As I said before, when I originally bought my Genesis/CD/32x set-up from the thrift store, I didn’t think I had all the right cables and whatnot. Just looking at the back of this Sega CD, the numerous ports had me confused. Sure, the power supply is self-explanatory (and luckily mine came with one; same as a model 1 Genesis power supply), but the rest? Separate AV jacks? “Mixing?” What have I gotten into?! No wonder I threw all this stuff in a box and let it sit for almost 7 years!

Fortunately, a quick look online revealed that I did indeed have the bare minimum to get this thing running. All I had to do? Connect it to the Genesis’ expansion port, plug the power supply in, and bingo! The Genesis handled the rest! Cool winnins! (There are some metal RF shielding plates that came with the CD, which you screw in the bottom of the Genesis to both better prevent RF interference and to attach it more securely to the CD. I had these and did indeed attach them, but they’re not absolutely necessary.)

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The Sega CD had garnered a decently-sized library before being discontinued in 1996, though oddly enough, as soon as I got mine hooked up, I was sort of at a loss as to what I was really going to go after (barring one exception). The fact my player had been sitting around my basement for nearly 7 years had me wondering if the thing even still worked. A quick trip to a nearby thrift shop yielded me a cheap copy of Bill Walsh College Football, purchased solely for testing purposes (I’m not a college football fan, and frankly, I’m not huge on 16-bit football games in general). Maybe not the best demonstration of the CD’s power, but it told me that my Sega CD was indeed operational.

My first real Sega CD game, as far as one I wanted goes, was Sol-Feace, a terrific horizontal shooter that was actually a pack-in with the original release of the Sega CD. While maybe not a stellar showcase of the CD’s abilities (except for the soundtrack, which I dig), it’s still a blast, and saves me the trouble of tracking down the Genesis cartridge port (titled Sol-Deace; Phil Moore always had fun saying that title on Nick Arcade).

After that was the CD port of Bram Stoker’s Dracula. Unlike many Sega CD games, which were just enhanced versions of Genesis games, Dracula is actually a totally different game from the ‘regular’ edition. Featuring actual clips from the movie, digitized characters, and backgrounds that rotate as you pass through them (think Fleischer Popeye), it’s an impressive title for 1993, and unlike the last two games, a real showcase of what the Sega CD can do. Okay, technically it’s a mediocre, single-plane Beat-‘Em-Up, but it looks so neat that I wound up being fond of it nevertheless.

But actually, it was Final Fight CD, which you’re looking at live and in action above (in a shot crummily taken of it playing on my TV because I don’t emulate; it looks better in real life, trust me!), that was the main driving force behind getting me to hook up the CD. Y’see, I’m a Beat’ Em Up junkie; it’s quite possibly my favorite genre of video games. Heck, I pretty much bought the TurboDuo just so I could play the Japan-exclusive port of Double Dragon II. So yeah, Final Fight CD might as well be considered my personal “killer app” here. My conclusion? It’s a very good port, infinitely superior to the SNES version, and with a great, kickin’ soundtrack. My only real issue with the game is the same issue I take with all Beat-‘Em-Ups of its ilk: It tends to be cheap. The difficulty doesn’t so much ramp as it sucker punches you. I’m always up for a challenge, but I find that aspect of the game severely irritating. As far as the Genesis goes, I find both Streets of Rage and Streets of Rage 2 to be superior fighters.

Still, despite some warts, Final Fight CD is my favorite title thus far on the Sega CD. Yes, it was worth hooking the add-on up for!

Currently on the want list: Even though I’ve never been huge on the normal Genesis edition (I’m firmly in the Super Nintendo camp when it comes to games based on the movie), I do intend on picking up the expanded version of Batman Returns. Also in the same vein, and because I’m, as previously stated, a Beat ‘Em Up junkie, the expanded Sega CD port of Cliffhanger is one I’d like to add to the library. Star Wars: Rebel Assault, the PC version of which I grew up with, is a title I’d really like to get, even though intellectually I know it was never a very good game, even back then. Also, Afterburner III, because I do loves me some Afterburner. The Sega CD library is littered with full-motion video titles (a real relic of the ’90s!), and while the thought of most of them make my eyes glaze over, obtaining one or both Mad Dog McCree titles is appealing, simply because, like Rebel Assault, I grew up with with Mad Dog II on the PC. (Unlike Rebel Assault though, I always found Mad Dog II pretty fun.) And of course, I needs me some Sonic CD, too!

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Finally, and for purely cosmetic reasons, I bought the extender piece that attaches to the far-left bottom of the Genesis and slides into the CD base. It doesn’t do anything but make the whole set-up look better; otherwise, the edge of the model 1 Genesis hangs off the side of the model 2 CD. Still plays fine, but looks ugly. Hence, extender piece. I wugs u extendo peece.

The more I think about it, the more I think that a particularly appealing thing about the Sega CD is that it’s such an early-1990s throwback, and not just in release date, either. Back then, CD was this new, wondrous format; just hearing “CD-ROM” today reminds me of getting the latest Sierra adventure games for the PC on CD – 3.5 floppies seemed so outdated after that! To get that same experience on a console, it had to be pretty cool for cutting-edge gamers of the time, and it’s still fun to revel in now, even if the revolutionary aspects have, of course, dimmed in the years since.

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Ah, and that brings us to the the Sega 32x. The infamous Sega 32x. An attachment conceived to give the Genesis 32-bit capabilities, extend the life of the console, and bridge the gap between the Genesis and looming Sega Saturn, the 32x could very well be (and has been) considered the opening salvo in Sega’s demise as a console-maker. The add-on was a notorious flop, with only about 40 games released for it, and it was only on the market for 2 years or so. Even worse, it destroyed much confidence in Sega as a company, and coupled with some unwise decisions and relative commercial failure of the Sega Saturn (commercial failure, mind you, because it certainly has a huge cult following), Sega could never quite get back on track, even when they should have with the terrific Sega Dreamcast.

‘Course, in my case, I got the 32x so many years after all that, that there were only two real factors in deciding whether I should extricate it from its resting place and hook it up to my ‘real’ Genesis: 1) Were there enough games to even make it worth the effort? And, 2) what about my Power Case Converter? As I said before, that thing apparently won’t run whilst plugged in to the 32x (however, and also as I said before, you can run regular Genesis cartridges through it no problem, except for Virtua Racing, which the 32x has its own port of anyway). Like I mentioned earlier, rendering the Power Base Converter useless was non-negotiable in my eyes. I eventually found a not-perfect-but-livable solution, which I’ll explain in a bit.

(Like the Sega CD, the 32x has metal plates you’re supposed to install inside the Genesis cartridge slot, and while I have them, you don’t absolutely need them – also just like the Sega CD. This is a good thing, because they would hamper my just-mentioned SMS-solution, and besides, I don’t know where I put the things anyway.)

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You know, even though there are far fewer games in the 32x library than there is the CD, there were a handful titles that I wanted to play more than any other, save Final Fight CD. Namely, Star Wars Arcade, Doom, and Virtua Fighter.

Star Wars Arcade was a launch title for the 32x in 1994. Based on the 1993 arcade game (as opposed to the 1983 vector Atari arcade game), it’s a very good space-shooter, and an excellent demonstration of the 32x’s polygon abilities. Plus, it was the one 32x game I played back in the day. Still, I haven’t spent a ton of time with this one yet.

Doom, on the other hand, has gotten far more playtime than I expected. I heard conflicting stories about this port, from it being good to it being, uh, not. And you know, even though the music is weak, the framerate sometimes stutters, there are levels missing, and some save states are desperately needed, for a time I could not get enough of this game! *I* think it’s a good port, even if, technically it’s not a great one. Plus, while it may be anathema to admit this, I’ve always preferred Wolfenstein 3D to Doom; since there was no port of the former on the 32x, the latter wins by default.

But as far as 32x favorites go, I think I have to give the edge to Virtua Fighter (above, again in a sad, off-the-TV shot), a terrific port of the revolutionary 1993 arcade game. Using polygonal models, it may not look like much now, but it’s a fantastic demonstration of just what the 32x could do when harnessed properly. It even compares quite well to the later Sega Saturn port! There was a time when I was big into the 3D one-on-one fighters, so this version of Virtua Fighter really does take me right back. Plus, I always wished that Sega had made a big beefed up Genesis port using the same technology they did for Virtua Racing; it never happened (though an okay, albeit 2D, port of Virtua Fighter 2 did show up late in the Genesis lifecycle), so this cart satisfies that ‘hunger’ somewhat.

Currently on the want list: Mortal Kombat II received a 32x port that’s seemingly pretty good, which is fortunate, since I love the regular Genesis version. Furthermore, there are well-regarded ports of Afterburner and Space Harrier that I definitely want. Knuckles Chaotix seems like an interesting Sonic spin-off, and the masochist in me wants to try Motocross Championship, even though it’s supposedly one of the worst things ever – and Youtube vids seem to bear that out. Also, I wouldn’t say no to Spider-Man: Web of Fire, should I find it cheap at a yard sale (yeah, right). Yes, there are fewer personal “wanted” games for the 32x than there are for the CD, but truth be told, the ones I want for the 32x I want more. Go figure!

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As you may well imagine, running all of this results in a real mess of wires, not to mention three separate power adapters. Look up above if y’all don’t believe me! And, the 32x was a real pain to get hooked up satisfactorily. You can’t just “plug it in” like the Sega CD. I didn’t think I had all the necessary cables here either, though it turns out I was only missing one – the most important one (figures). Online searches on what exactly I needed wound up making my head swim, especially when they got into what was needed to get true stereo sound out of a 32x plugged into a model 1 Genesis (which only outputs mono sound). I’m usually pretty good at figuring these things out myself, but here, after numerous tries, I kept finding myself hopelessly confused.

So, here’s what you need for the 32x:

1 – A power adapter, of course. The 32x uses the same style as the Genesis model 2. Mine came with one, and even if it hadn’t, they’re easily found.

2 – Genesis 2-style AV or RF cables. Mine came with an RF box, which was fine with me until I realized I was gonna need AVs not only for better picture (remember, I wasn’t using the shielding plates, which did result in some irritating static), but also for a very specific reason I’m coming to. A quick trip to eBay yielded me some (cheap) AVs, though I soon learned the hard way that normal Genesis 2 stereo AV cables don’t work; you get picture but no sound with them plugged into the TVs AV ports. Nope, here you gotta have mono Genesis 2 AVs in this situation. Evidently they came with the 32x originally. So there went a bit more money for the cause, but they worked. Of course, you’ll only get mono sound in this scenario, but stereo isn’t that important to me here, and besides, figuring that aspect out takes me back to head-swimmin’ territory. Enough of that noise.

3 – Here’s what I didn’t originally have, and also what resulted in the most confusion on my part: The 32x AV mix cable. You see, you have to route from the Genesis AV port to the 32x with this cable in order to see everything correctly, via the “AV out” port on the Genesis and the “AV in” port on the 32x. Not so hard to understand, except the Genesis 1 and the Genesis 2 use different AV ports, and the model 2 port is the same one as found on the 32x. So, the 32x originally came with an adapter that fit the cable into the Genesis 1. It sounds so simple now, but figuring out what people were talking about, again, had my head swimming. I actually had to go to a video game forum and ask where I was at with what I had. Since the original adapters for this cable are pricey nowadays, I opted for a third party cable that’s specifically built to connect the Genesis 1 to the 32x, and I’ve had no complaints.

So, what about my beloved Power Base Converter? Just how was I gonna play SMS games without doing some serious un-hooking? Well, it’s not an ideal situation, but since I now have AV cables for the 32x, and thus normally run all of my Genesis-needs through those, I simply plugged and left my model 1 RF switchbox into the TV, and whenever I feel the need for some SMS, I’ll take out the 32x, unhook the AV cables from the Genesis, plug the RF cable back in, and have at it. No, it’s not as quick and easy as I’d like, but the effort is fairly minimal, and besides, I can still keep all of my stuff in one location, on top of my big honkin’ TV.

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And so, there it be: A model 1 Sega Genesis, loaded, cocked and ready to rock, with a Sega CD and Sega 32x attached, and though not pictured, a Power Base Converter at the ready. Yes, it looks like a big plastic lump sitting on top of my TV. No, I don’t care; in one sitting I can play Rambo III, Virtua Fighter, Final Fight CD and Vigilante if I want, and that’s a thing of beauty.

You know, I was there for the tail-end of the 8-bit era, but basically grew up during the 16-bit generation, not to mention the 32/64-bit years. After that, my interests progressively waned generation-by-generation. But 8-bit and 16-bit, that’s where my gaming heart always truly stayed; I upgraded over the years, sure, but I never stopped loving the consoles and/or eras I grew up with. Since most of those formative-gaming-years took place in the 1990s, man, this beefy monstrosity of a console really does take me back, even if I didn’t actually own most of it when it was new.

And on the subject of the 1990s, I’ve come to consider the Sega Genesis the definitive 1990s console. Let me explain: I’m not necessarily saying it’s the best console of the 1990s; that’s of course subjective, and I absolutely adore the Super Nintendo, which was my first system ever (Christmas of 1992, baby!). Plus, the 1990s also held the 32/64-bitters, and it’s safe to say the Sony Playstation dominated the second-half of the decade handily. (Though for sheer late-1990s-ness, the Nintendo 64 seems to fit to me, too.)

But when I think 1990s gaming, the Genesis defines so much of what comes to mind. Here’s a system that hit the US in 1989, and stuck around until 1998 or so. (Wikipedia says 1999!) The sleek, black console itself, sure, it looks like a product of the decade (even if it technically wasn’t when regarding my preferred model 1), but also the many different trends and styles of gaming it demonstrated. From the 8-bit sensibilities (with 16-bit graphics) of the early titles, to Sonic, to the innovative, technically-impressive stuff being produced in the later years.

And beyond the games themselves, there was the ‘aura’ of the console; the loud, in-your-face marketing (“Blast Processing,” “SEGA!”) and general aimed-at-adults attitude. It all seems so overtly 1990s now. And of course, it’s also the additional features (some might say gimmicks) such as the Sega Channel, and, naturally, Sega CD and 32x add-ons, that all make up the “1990s-ness” of the Genesis. Sega ultimately wound up shooting themselves in the foot by doing “too much” with the system, but as an artifact of the mid-1990s, man, this beefed-up console just screams “1995!!” to me. I love it!

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Looking for a succinct picture to sum up my super-charged Sega Genesis? This one right here seems to fit the bill. The classic 16-bit Sega Genesis, being upgraded to the aforementioned “NEXT LEVEL.” In one system I can take part in genuine 16-bit greatness, venture into the then-fairly-new world of CD-ROM, take a peak into the future with 32-bit gaming, or take a look back at the past with 8-bit gaming; how cool is that?! Do I need any more reasons to keep all this on top of my Trinitron for the foreseeable future? I posit that I do not.

SEGA = BEEFED, and I couldn’t be happier with the results!

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

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

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

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

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

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

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This broadcast was also a life-preserver of sorts.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Here, buy your own copy and judge for yourself!

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

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

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

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

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

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

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

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

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

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A very funny Christmas-themed skit follows.

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

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

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

And…that’s kinda it.

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Look at this sign of the times!

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

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

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

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Another Christmas skit follows that.

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

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

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

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

Get it???

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

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

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

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

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

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

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

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

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

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

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Trivia time again.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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One final note…

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

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

See you in 2017!

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

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

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

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

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

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

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

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

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

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He sure wasn’t kidding, either!

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

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

“The Oooodlubb—“

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

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

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

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

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

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

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

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

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

(Full disclosure: I still kinda like Urkel.)

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Mail time!

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

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

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

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The personal slant I mentioned earlier!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

Quaker Square Christmas Village Ad

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

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

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

Princess Diana Commemorative Stamps Ad

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

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

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

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

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

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

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

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

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

JC Comics & Cards Christmas Ad

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

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

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

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


Alright, enough.

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

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

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

Happy Halloween!

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

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

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

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

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

Behold!

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*Cricket Chirps*

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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GRAMPA!

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

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

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

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

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

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

They are undoubtedly cool, however…

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

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

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

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

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

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

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

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Movie time!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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One more thing about Night

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Whew! Done!

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

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

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

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

Have a great Halloween everybody!