Tag Archives: television

WEWS TV-5’s The Morning Exchange – Vintage Coffee Mug

Yeah yeah, I know, I took nearly all of August off. A combination of being busy, lack of ‘writable’ material and absence of drive kept me from duly updating my arbitrary blog. Those last two reasons are related; technically, I’ve always got lots of stuff I could write about, but the fire man, the fire has to be there. It’s like how a car don’t go without no gas or some stupid analogy like that. And when I go out thrifting, I very nearly always come home with what I consider some good winnins, but it’s the cool winnins that give me the fire. And it’s those very cool winnins that have been more-or-less MIA in recent weeks. This, my friends, was not an ideal situation for your Northeast Ohio Video Hunter, but it’s not like I had much say in the matter.

‘Course, it’s times like that when I can just sit back and let my old material do the work for me. I mean, when I wrote about that sentient alarm clock over a year ago (!), I held no illusions about it being a particularly popular post; I just got jazzed enough over the device that I wanted to introduce it to a potential audience. It’d be there for the right people when they come looking. And for quite awhile, that’s pretty much where things sat, until in recent months when its popularity relatively exploded, with enough page views and comments to put a figurative smile on mah face.

ANYWAY, this find from just last night is, rest assured, just the sort of thing that can get my creative juices flowin’ and another new update on the dinner table. Dig this: it’s a vintage coffee mug promoting WEWS TV-5 of Cleveland’s long, long running and incredibly influential daily talk show, The Morning Exchange. Cool winnins.

I take solace in the fact that (apparently) most people don’t find the same things that I do interesting, because this is the sort of thing that I would (and did) snap up with extreme fervor; there was absolutely no question it was coming home with me from first glimpse. And yet, when I came upon it, it sat nearly alone in a big tub, seemingly unwanted by those who knew no better. But I knew. I knew.

Now to be honest, I’ve got lots of glassware and mugs and what have you that I could write about, and sometimes I did consider doing so during what turned out to be my unintentional hiatus. I decided against it though; it just felt too soon after the last time I looked at old Northeast Ohio television-related coffee mugs. Heck, in the time since, I picked up yet another new-to-me WVIZ java accessory, but I just didn’t want to go back to that well. Not yet, anyway. I don’t want to become known as “The Mug Man,” man.

This Morning Exchange thing is different though. Not only because it’s promoting an absolutely legendary piece of Cleveland television history (it was so popular locally, it inspired ABC to create the national Good Morning America!), but also because it was hosted for nearly all of its 27 year (!!) run by local icon Fred Griffith, who sadly passed away recently. No joke, Griffith was a certified local legend, and from what I’ve heard, a genuine good egg to boot.

Here’s the thing with this mug: as you can see in the above pic, the logo is quite wide, and as such, getting the whole thing in one definitive shot just isn’t going to happen, unless y’all wanna provide me with one of them Matrix cameras or something. Wait, I don’t think that would work here, either.

So anyway, to better educate and inform and annoy the masses, I’m gonna have to provide some additional pictures. As such, here’s the left side of the mug, showcasing the, uh, left side of the Morning Exchange logo. Also visible: the ever-handy, erm, handle that allows one to make use of the mug without scalding their delicate lil’ hands.

Look, I don’t really know what you want me to say about it, okay? It’s one side of a coffee mug. And since I just used up whatever I could think to say about it here, I’m already questioning what I’m going to write about the other half. Nothing can ever be easy in my world.

So yeah, here’s the right side. The rest of the logo, close-up of the channel 5 logo, big swoopy thing comin’ off the “g” in “Exchange,” you can see it all here. The white lettering over burgundy is an attractive, appropriately morning-ish look. I dig it!

(Yeah, now I’m spent.)

It’s funny; I didn’t (and don’t) ever really watch any morning shows, mainly because I’m rarely up in time, and even though I have little direct history with The Morning Exchange, because it was such an ever-present part of the Northeast Ohio television landscape for such a long time, I remain fond of it. My grandmother used to watch it, my mom says she used to watch it, so there’s some pleasant memories there. But really, it’s more about what this mug represents that enamors me so. What’s that? One of the giants of Northeast Ohio television, that’s what!

All that said, I have no idea how old this mug is; there’s no date anywhere on it. I’m considering it late-80s or early-90s, but I could be dead wrong on that. The channel 5 logo was updated around 1995, so methinks it’s prior to then. The Morning Exchange ran from 1972 to 1999, so even at the latest it’s around 20 years old as of this writing. I really don’t think it’s even that relatively-recent, though. I do think it’s somewhat newer than this example, but how, when and where it relates to these examples, I do not know. I’m going with a mental “circa-1990” descriptive term, though I’m not confident in it enough to add it to the title of this update. (While on the subject, I couldn’t find a sequence of wording for the title that I was totally happy with, so if it reads awkwardly, that’s why.)

How would one go about getting one of these back in the day? My brother suggested it was a souvenir of actual guests on the program. If that’s the case, MAN is that cool. I’m not prepared to go quite that far though, not just yet. I’m thinking this was a promotional item anyone could have gotten, but that begs the question: where? There (probably) wasn’t any internet yet, at least not in any form approaching how we now know it. So, personal appearances by the hosts? Industry swag? A mail order item? Was there something akin to what WJW TV-8 later had, their very own store? (It was in Summit Mall.)

These are questions I know not the answer to. Maybe it was a guest-used/show-used item. That’d be, as the hip individuals say, pretty baller.

Regardless of its origin, the very fact that this coffee mug promotes a veritable Cleveland institution such as The Morning Exchange is more than enough. The fact it’s a coffee mug (cause coffee/morning, dig?) just makes it all the more appropriate. The era and images and feelings it invokes is indelibly Northeast Ohio. A bygone era in our broadcasting history. The sad fact of the matter is stuff like this doesn’t turn up all that often, but when it does, it’s cause for celebration and weird, amateurish touchdown dances. I didn’t, but I could have.

There’s your precious update. Maybe I’ll get another one up within the next several decades, we’ll see.

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Vintage KSTP-TV 5 DIALING FOR DOLLARS Promotional Token

Do you remember back in June when I showcased a vintage Dialing For Dollars keychain from the Duluth and Superior areas of Minnesota? Of course you don’t.

Anyway, we’re taking another trip back to “The Gopher State” (unknown to me beforehand, but that’s apparently one of its nicknames; Wikipedia sez so) for this update, because I’ve obtained another vintage piece of Dialing For Dollars memorabilia from Minnesota, this time from the Minneapolis/St. Paul market. KSTP-TV 5 had their own version of the franchise, and I’ve got the promotional token to prove it.

Like the above-linked keychain, this was an eBay find. (What, you think I’m likely to come across stuff like this locally?) Unlike the above-linked keychain, this was an auction, rather than a buy it now. This meant I had to bide my time and hope no competitors had their eyes on the same prize. I waited, they didn’t, and so here we are. I’m the champ?

Here’s the ‘face’ of the token, presenting what I presume was “the count and amount” system that viewers needed to know in order to win the big, big bucks. (In other words, when  the host came a-callin’, y’all best know it was “15 DOWN” or “1 UP” or however they went about playing the game.) I’m a little confused as to why it’s labeled “LETTER GAME,” when it seems to me that numbers are much more the focal point here, but then, I wasn’t there and I wasn’t watching, so I’ll just guess that whoever struck the coin knew better than I.

One thing about Dialing For Dollars in general that I talked about in the earlier article: because it was such a 1960s & 1970s phenomenon, much of it aired in the pre-home video-era (in a widely commercial sense anyway), and as such, learning about the finer details of some iterations can be difficult. For example, the host(s) and/or exact format for a particular market isn’t always immediately certain. At least not from what I can discern through online research; respective television historians from wherever probably know all this stuff automatically, but for those of us ‘on the outside’ and learning about things waaaay after the fact and waaaay outside of the original area, well, sometimes it can be tough.

Also, some local versions of the franchise were movie showcases, with a daily flick interrupted by the, say it with me, dialing for dollars segments during the breaks. But for other versions, it was all dialin’ for dinero, all the time. (As in, that was the whole show.)

My issue here: I couldn’t figure out which ‘type’ KSTP’s version was. I don’t know how long it ran, I don’t know who hosted it, and I don’t know how it was exactly played. I’d certainly prefer that it was of the movie-hosted variety, but either way, it represents a live, call-in aspect of television history that just can’t happen anymore. (At least not on a regular basis.)

Never mind, I found some solid info: this site has an advertisement for the show. KSTP’s Dialing For Dollars was evidently not a movie showcase, but rather a standalone program, albeit one with interviews, cooking segments, and other things you’d expect of a typical daytime program. Interestingly, the ad makes a loud and specific declaration that this wasn’t just a woman’s show, despite the fairer sex making up 63% of its audience (which makes sense; more women stayed at home back then, after all).

The host, or hostess rather, was Jane Johnston, who sadly passed away in 2007.

Here’s the back of the coin, with more pertinent identification information. After all, what good is an advertising token if you don’t let the people know where they can tune in? You’ve got the station call sign, the viewing area the station served, and who the owner was. And look, color television! I love that they call specific attention to the fact it was a color station; it’s just so evocative of that era of television broadcasting.

While I don’t have an exact date for this coin, I do, hopefully, have a time frame: according to Logopedia, the style of logo seen on this token was only in usage from 1968 to 1969.

HOWEVER, that above-linked advertisement claims to be from 1966, and the logo seen in it is identical to the one here, so I don’t know. Your guess is as good as mine. Johnston’s obit says she came to KSTP in 1963 and hosted the show in the 1960s and 1970s, so…? Did she immediately start this show in ’63, or did it take a few years? It had apparently been on the air for some time before that ad came about.

Another question remains: how would someone go about obtaining one of these back in the day? Was it a prize for contestants? Something given away during personal appearances by Johnston? A promotional item passed out during industry events? Unfortunately, these are things I just don’t know. (Also, I wonder what that “8101” stamped into the back designates? Does it refer to the number of coins struck? Are there possibly 8,100 more of these out there?!)

At any rate, I love pieces of promotional material like this, because there’s only so much pertaining to the source material (seemingly) still floating around nowadays. I mean, maybe KSTP has footage of the actual show in their archives, and if it ran into the 1970s, it did crossover into the commercial home video-era (technically 1972 with Cartrivision, but more likely 1975/1976 with Betamax if it made it to the middle of the decade), but in regards to what can fall into my paws, I imagine I’m limited to the smaller accoutrements such at this. Maybe some press photos, potentially some appropriately-branded mugs or glasses, probably print ads from old TV listings (TV Guide or otherwise), but realistically I can’t think of a whole lot else.

That’s okay though, because even on its own, this token is suitably neat; I wouldn’t wait for an auction to end for anything less! As it stands, it now proudly resides right by the Duluth/Superior keychain I linked to at the start of this update. They belong together because they is cousins.

EPISODE REVIEW: The Ghoul’s airing of 1935’s SCROOGE (December 17, 1999)

I have no idea what’s happening the rest of the month, so consider this your de facto Christmas and New Year post.  I suppose I could wait till Monday and post this on the 19th anniversary of the original air date, but I’m, uh, not.

But hey, if I’m gonna jump the gun, what a way to do it!

Under normal circumstances, I wouldn’t do another “Ghoul post” so soon after the last one, even if the last one was in actuality back in August. Not that I couldn’t babble about Ghoul Power every single day if I wanted to; it’s just that I worry about over-saturating all four of my regular readers or something like that.

At any rate, in the months since that August update, some sad and shocking news dropped: Ron “The Ghoul” Sweed suffered a massive heart attack. I don’t know all of the details, other than it happened and that triple-bypass surgery was needed. As far as I know, and hope, he’s had the surgery and is recovering now. Scary, scary stuff; I sincerely pray he makes it through with flying colors and comes out stronger than ever.

Well before that news (and also well before that August post), and certainly continuing afterwards, I had made a habit of revisiting a lot of the old Ghoul shows I recorded off WBNX TV-55 in the late-1990s and early-2000s. For the most part they don’t feel that old to me, and yet it’s been so long since I had watched some of them (or in some cases, taped but never watched at all), that they’ve essentially become ‘new’ to me all over again. I have greatly enjoyed having a regular (sometimes every single night) dose of Ghoul Power!

So, to talk about a horror host in December, it may seem a little strange, until you realize (or at least read the title of this update) that every Christmas season, The Ghoul went all-out in celebration, and he perhaps never went more all-out than he did in December of 1999, when the entire month was dedicated to Christmas-appropriate films. Not only was it intensely festive, but The Ghoul was probably at his peak in both material and visibility on the station.

Over the course of the month, not one but two films that would become personal Christmastime favorites of mine were presented: 1964’s Santa Claus Conquers the Martians (for me it has become a tradition to watch this movie at some point in December each year), and our subject today, 1935’s Scrooge, which also happens to be my go-to film adaptation of Charles Dickens’ A Christmas Carol. The Ghoul tackled it on December 17, 1999, one whole week before Christmas Eve! The anticipation was running high, and Santa Ghoul was running rampant!

The episode opens with a really cool intro: old footage of “Santa Ghoul” from the WKBF TV-61 days (i.e., the 1970s) being pulled by a reindeer, and then transitioning to the modern day Santa Ghoul on his set, before transitioning back to the old footage to close the intro out. Neato!

During the ‘current’ portion of his intro, The Ghoul promises not just a movie, but all kinds of “eclectic Christmas vignettes,” and boy, he wasn’t lying! During the Friday 11:30 PM era of his WBNX run, man, there would be a ton material packed into any given show, and this installment was no exception. Some vintage bits, some trips around Cleveland (including visits to the WOIO and WNCX studios), some ice skating, all in addition to his on-set antics and a genuinely good Christmas movie! When it comes to local holiday celebrations, this was a terrific, jam packed example – and there was still a week to go before his actual Christmas special!

Before we get to all of The Ghoul stuff though, let’s look at Scrooge. Look, I wanted to do some kind of tribute to The Ghoul before the year was out, but I also really, really wanted to talk about this movie. I love this movie; not that I’m terribly familiar with the others, but it’s still my favorite film version of A Christmas Carol. Some of that’s nostalgia; for years, WAOH TV-29/WAX TV-35 (“The CAT”) annually ran a commercial-free presentation of it each Christmas Eve (I talked about it before, though don’t bother visiting that link; the article is old and terrible). But even beyond the fond memories, I just think it’s a genuinely good film.

Released in 1935, this is not only one of the more underrated adaptations of the story, it’s also one of the more obscure. Both the 1938 and 1951 versions tend to eclipse it, though I admittedly have no real experience with those (they may very well be, and apparently are, better movies).

Still, when you’ve got the foundation of stellar source material, it’s probably all relative (to a point, anyway). The classic tale of Ebenezer Scrooge, miserly and anti-Christmas-lovin’, getting a verbal beat-down by the tortured spirit of former business partner Jacob Marley and then put in check by ghosts of Christmas past, present and future in order to make him not only get Christmas but get Christmas all year long, hey, it’s legendary stuff. No joke, calling it “legendary” actually seems to downplay the whole thing; A Christmas Carol has become one of the most recognizable, enduring ‘extras’ associated with Christmas.

(In other words, do I really need to explain any more of the plot? Doesn’t everyone know it by now? I’m pretty sure there are kids that are born automatically knowing this story.)

Great source material or not, I’d imagine any filmed version of A Christmas Carol ultimately hinges on the guy in the lead role, and let me tell you, Sir Seymour Hicks makes for an excellent Scrooge. From the onset, he’s not just cranky; he’s downright unpleasant. You’re not supposed to initially like Scrooge of course, and Hick’s rendition is so filled with vitriol, so angry at anything approaching cheer, that you really don’t.

Of course, that just makes his eventual redemption all the more joyful, and Hicks is terrific in demonstrating the transition. He really comes off as a changed man! And his looks of sadness at what he has and is missing out on, as well as his fear at what will be, are all nicely portrayed as well.

1935’s Scrooge also has something going for it that I find continuously appealing: a feeling of authenticity. Sure, the movie is old (duh!), black and white (duh duh!) and a little creaky (duh duh duh!). But it somehow feels like Britain in 1843, as if it was really filmed back then. Sure, there’s probably some time period inconsistencies, but for your average fella such as myself, the vibes are overwhelmingly old fashioned, I guess you could say. It feels like you’re there during an old timey English Christmas, or at least it feels that way to me.

The movie also does a good job of presenting the deeper aspects of Christmas, as you’d expect. Sure there’s the parties and merriment and so on, but ultimately it’s about a generosity and happiness of spirit, with obviously the birth of Christ at the center of it all, even if only by implication. (I should mention now I haven’t actually read the original book, unless you count the mega-abridged and rewritten edition I read when I was in like 3rd grade – which I don’t.)

In its original British incarnation, Scrooge was 70+ minutes long, but for the U.S. it was edited down to around an hour, and it’s those truncated prints that made the rounds on American television and home video for decades. (And the fact that it’s apparently public domain in the U.S. only exacerbated matters.) Obviously it was a common hour-long version that The Ghoul was running, but unlike a good many flicks featured on the show, it wasn’t chopped to ribbons. The only bit I really noticed missing was the “Lord mayor of London celebration” scene, but its exclusion didn’t hurt the plot any. Indeed, by and large, the ‘meat’ of the story is here and is completely coherent.

And of course, since this was The Ghoul after all, there was a bevy of sound effects, music and what have you dropped into the film, including the humorous “fact bubbles” that were a staple of the show at the time, as you can see here to your right.

So, when you’ve got a movie that’s not only fitting for the season but also actually good and whose plot you can easily follow, hey, that’s always something that can get you in the holiday mood. But of course, being only an hour long originally, even after commercials were taken into consideration, there was plenty of time for wacky Ghoul material, and that’s just what viewers got that night of December 17, 1999…

(Indeed, there was so much material, I’m only going to focus on a few of the personal highlights here.)

The Ghoul liked to take little digs at Big Chuck & Lil’ John, albeit digs that were always good-natured in spirit. Given the shared Northeast Ohio-history between the two shows, never mind that both aired at the same time on Friday nights back then, it was only natural. Here, because it was in the thick of the Christmas season, The Ghoul wanted to wish good will to men, all men, even Chuck & John…which was demonstrated by him holding up a Big (wood) Chuck and a Lil’ John (toilet)! This was followed by a “call” to Chuck in which The Ghoul had to remind him not only who he was (“Not Ghoulardi; The Ghoul!”), but also who Lil’ John was!

Immediately following that little bit was footage of The Ghoul, in full Santa regalia, and Froggy visiting the offices of WOIO/WUAB, traipsing around the lobby, talking to some of the staff, and culminating in The Ghoul pulling his beard and mustache off and putting them on a hanging portrait of Denise Dufala, and then making a hasty exit!

Dufala was another local personality that The Ghoul had a good-natured “feud” going with at the time, and the shot of her picture with the beard and mustache on it was repeated for the longest time afterwards, with the declaration that she was a “bad mamma jamma” later grafted on.

Ahh, a blow up! What would The Ghoul Show be without a little juvenile destruction? It was a tradition going all the way back to the Ghoulardi days of the 1960s, and a show never quite felt complete without one ‘splosion to set the mood.

This time around, it was a model car that got the explosive nod, and it did indeed blow up real nice! Quick, silly, simple, and a lot of fun.

You know, it’s amazing how big of a destructive influence The Ghoul had on both me and my brother. We never really had legit fireworks in which to destroy things, but fire, smashing, what have you, that sort of stuff was within our reach. In fact, I have two related stories that can be directly attributed to the influence of The Ghoul…

1) Once, at a computer swap meet-type convention (of all places), my brother bought a box of already-assembled model cars from a guy. They weren’t particularly old, nor were they particularly intricate pieces (snap-on plastic, maybe some glue, decal stickers), but the dude had obviously spent some time putting them together. You can see where I’m going with this, can’t you? Over time, all of those cars met destructive ends, mostly by crushing/smashing, I’d imagine. I almost feel bad about it now, because I can just imagine the guy feeling like he was passing these cars, cars he spent time with and enjoyed assembling, on to someone who would (supposedly) appreciate them, and that was the end they met instead. Actually, it’s kinda (darkly?) funny when you think about it.

2) At one point, again in lieu of fireworks, I combined by Ghoul-fueled destructive tendencies with my love of Japanese giant monster movies and created a game imaginatively titled “Gamera.” “Gamera” took place in our backyard, in the circular dirt “arena” in which our old pool once stood, and involved a thick plastic sea turtle I got at SeaWorld or some place being tied to a rope and swung around in the air before attempting to slam it down upon G.I. Joe figures that weren’t deemed important enough to keep. (Since I collect that early-1980s to mid-1990s G.I. Joe line nowadays, this decision was eventually revealed to be a mistake.)

Obviously it wasn’t a very precise game, so a (relatively rare) direct hit was certainly cause for celebration. Since the toy turtle wasn’t exactly indestructible, his limbs began to wear down and break off from the abuse after awhile, plus I got a nasty blister on the inside of my thumb from the constant swinging of the rope. (Those Joes were pretty durable and put up a good fight, too!)

Look, my brother and I were young enough to be amused by things like this, and it was pretty much all thanks to The Ghoul. Anyway…

A short, funny bit in which The Ghoul greets carolers at (ostensibly) his front door, only to then be regaled with loud, out-of-tune, and mismatched Christmas carols. Eventually, he just goes back inside, only to have the carolers continue singing (and even peeking in his windows)!

I recognize some of the Ghoul crew as the carolers; I’m guessing the rest were family members? Oh to be one of those lucky few in a Ghoul skit!

In addition to the opening WKBF material, there was another nice holiday-themed surprise from the past presented on the show, this one from his WCLQ TV-61 run in the 1980s. Here, The Ghoul narrates some of the annual traditions that take place during the Christmas season, including an unlucky-in-love couple but mostly focusing on a big giant brawl (“What Christmas is complete without the traditional holiday fistucuffs?”), which The Ghoul passes through without trying to stop. (This piece appeared to be part of a larger bit that was truncated somewhat for this particular broadcast.)

Now this is really cool: during one host segment, The Ghoul holds up a shirt for the then-new Ghoulardi’s Bar & Grille, a local establishment named (obviously) after the Cleveland horror host who set all this in motion so many years prior. The Ghoul promises to visit there sometime in the “very near future.

That would turn out to be true, as there were multiple instances of footage from Ghoul appearances there run in the following years. And why not? The two were a natural fit!

I never had the chance to visit Ghoulardi’s, and the place has evidently since closed, so that’s something I’m just going to have to live with. (Also, with all of the old local restaurant glassware and such that I come across during my travels, I have yet to stumble upon some Ghoulardi’s memorabilia in-person, and that’s something else I’m just going to have to live with, apparently.)

Ah, my buddy, Jungle Bob! Yep, JB was a regular guest on The Ghoul Show at the time, for awhile there having a weekly segment.

This time around, he had some parrots with him, including “Booger,” the green one from the Amazon, and “Orion,” the African grey parrot. Both were only a few years old at the time, which means it’s a safe guess that they’re still alive. (Parrots, as JB points out in the segment, are pretty long-lived creatures!)

That’s the recently-retired (*sniff*) Mr. Classic of WNCX holding “Orion.” At the time, The Ghoul would join him during his weekly Saturday night request show on the station.

As I said earlier, there was a lot packed into this show, and more than what I’ve described happened during it. Other shenanigans included some ice skating, visits around Cleveland, chats with citizens, and even an interview with Michael Stanley during a trip to the WNCX studios. And through it all, The Ghoul was in his Santa suit, keeping things in the Christmas spirit.

But, I’m going to close out this article with the image above: Santa Ghoul, hopping out on his bouncy ball as the show drew to a close, Ghoul Power just about done for the night. It was one week till Christmas Eve, or, if y’all wanna get technical, a week till Christmas proper, since it was well after midnight by that point.

(A funny email moment before The Ghoul exited: someone wrote in asking if he was interested in getting some audio copies of his late-1970s WXON TV-20 shows from Detroit. The Ghoul declined, because as he himself bluntly put it, those shows “sucked.“)

So, like The Ghoul, I’m gonna hop on out of here (figuratively), because that just about wraps up the big Christmas update; a more fitting post I could not think of. A terrific Christmas movie, a generous helping of Christmas cheer throughout the skits and host segments, and what I hope is a fitting tribute to Ron “The Ghoul” Sweed as he faces his health crisis. My prayers, thoughts and best wishes are with him, and I’m sure it’s the same for countless other 10 Star Generals in the Ghoul Power Army.

I truly hope you all have a blessed Christmas and a happy, safe new year. Ignore the constant drive for more and more gifts and instead remember the true meaning of the holiday, what it’s all about and what’s really important. That is my hope for you all.

Vintage WUAB-TV 43 & WAKR TV-23 Golf Ball Markers (Circa 1984)

I went Christmas shopping this past Saturday. Well, ostensibly; I did find one thing to check off my list, but came up empty for everyone else. Well, except for me. I did find a few things for me.

I wasn’t trying to – really! This was a mission to get Christmas shopping done, and since I don’t have that many people to buy for, theoretically it could have been completed during this one outing. Several locations were visited over the course of several hours, and where I myself was concerned, I dutifully passed up on some things I considered merely “neato,” because unless something practically jumped out and punched me in the face with awesomeness, I wasn’t going to get anything for my personal collection. It wasn’t an issue of cost either; this was about principle. I was on a specific mission, man!

I made it safely through the day – until the last place I visited. There, as I perused small display boxes made up of compartments filled with various knick knacks, my eyes fell upon the baggie you’re seeing right here. This was one of those cases where I got so immediately excited, so incredibly stoked, that I dropped what I was doing and instantly began extricating it. I knew, I knew, that as long as the price wasn’t prohibitive (and it wasn’t in the slightest), it was coming home with me. And so it did.

I hadn’t been to this antique store in several months (as it has been operating on reduced hours lately), so this must have been a fairly new addition to their wares, because I’d really hate to think my normally-fairly-astute eyes passed over this time and time again. Dig this: two pairs of vintage Northeast Ohio television-branded golf markers, WUAB-43 and WAKR TV-23! Cool winnins!

And Golf markers! If there’s one thing my collection lacks, it’s golf stuff. Not that I have anything against the sport; it’s just that aside from some old school video games and Happy Gilmore, I have little experience with it. Heck, I wouldn’t have even known what these markers were if not for the handy sticker affixed to the baggie notating the contents. This was an entirely unexpected find, but this was also exactly the sort of random TV-related thing I’m always hoping to come across.

(Also picked up for myself at the same time? I rarely drink alcohol, but a vintage Bud Man patch for only a buck was just too cool to pass up.)

It was the old WUAB logo here that first caught my eye, and because I have such an ongoing-affinity for the station, those markers were the ‘biggies’ for me. As you can see, one is pink and one is white, but otherwise they’re identical with the black “half-moon” 43 logo. (“Half-moon” is how *I* refer to this particular iteration of the station I.D., but as far as I know, I’m the only one to do so. Maybe that is the ‘official’ term for it though, I dunno.)

The WAKR markers are less logos and more mere station identifications. Unlike the two WUAB markers, they’re both completely identical to each other. Besides WAKR, WAEZ is also featured; I can only guess that this refers to what later became WONE 97.5 FM, which was WAEZ prior and WAKR-FM before that. There was some kind of connection there, is what I’m sayin’.

I have no idea what the actual age of these markers are. I’m assuming both pair hail from the same general era, but they could have just as easily been, erm, paired up later. WUAB only used that style of logo from, roughly, 1980 to 1986, before going to a full-circular version. WAKR TV-23 became WAKC TV-23 in 1986, and WAEZ became WONE on January 1, 1985. So yeah, I’m sticking with what I used in the title of this update: “circa 1984.” That seems to be a safe guess. At any rate, the WUAB ones have to hail from 1986 or earlier, and the WAKR/WAEZ ones from before January 1, 1985.

Regardless of the actual date(s) that brought these markers forth, they both demonstrate a terrific time in Northeast Ohio television, when quirky local programming and an eclectic line-up of movies and shows was the order of the day. I love that!

Hey, know what I discovered when it came time for a picture-taking session of these earlier today? Golf ball markers aren’t the easiest things in the world to photograph! Not these ones, anyway. Because they’re rounded, they tend to roll ll over when I don’t want them to. Indeed, I had to poke them through a disposable styrofoam plate for the main shots, and to your left here is the best I could come up with as far as a side-view goes. See, they done got lil’ pegs, perfect for plunkin’ down into the ground! These aren’t especially big markers, they’re all the same size, which is roughly that of a regular shirt button (a bit bigger actually, but not by much). They seem to be bright enough to show up on the ground during a golf outing, but I’d have thought they’d be a bit bigger for easier visibility. But then, I’m not a golfer; far be it for me to go tellin’ ’em their business.

The last remaining question for me is: how did someone go about acquiring these originally? They almost seem too niche to be widely-spread promotional items. I have seen golf balls with station logos/I.D, emblazoned on them, so this sort of thing was (is?) not unheard of. Perhaps they were from some industry event? A friendly game between the staffs of 43 and 23? These are things I do not know, and perhaps the finer details of which have become lost to time. (If you’ve got some additional information on them, by all means share it in the comments!)

So, as it stands right now, I’ve still got some Christmas shopping to do, but when I come home with cool promo items such as these to add to the ever-growing collection, well, how can that ever be considered a wasted trip? Like I said earlier, TV-related things like this are what I always hope to come across during my travels; sadly, it doesn’t happen often enough for my liking, but when it does, it’s usually worth the dry spells. Given the last update, I seem to be on some kind of streak right now – hopefully it lasts a bit longer!

A Ghoul Power Journey, 20 Years On…

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

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

The man himself, during a 1999 book signing.

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

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

Backstory:

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

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

That was all before my time, however.

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

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

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

The Discovery:

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

The fateful newspaper article that led me to Ghoul Power…

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

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

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

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

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

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

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

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

The Fandom:

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

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

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

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

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

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

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

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

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

Froggy being bombarded with some “raven residue.”

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

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

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

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

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

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

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

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

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

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

The Ghoul with Gamera, on two separate occasions…

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

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

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

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

This particular life goal? ACHIEVED.

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

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

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

The Ghoul happily obliged, and in spectacular fashion.

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

Lotsa Time Slots:

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

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

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

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

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

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

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

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

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

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

The Ghoul on his “Breakfast Club” set.

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

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

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

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

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

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

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

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

The Ghoul in a local Norton Furniture ad.

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

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

The Movies:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Personal Appearances:

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

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

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

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

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

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

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

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

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

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

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

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

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

The Ghoul promoting Frightvision 2001 on his show.

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

Speaking of cool winnins…

Memorabilia:

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

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

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

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

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

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

I really wish they still made this stuff.

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

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

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

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

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

“Hiya gang! Hiya hiya hiya!”

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

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

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

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

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

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

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

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

Looking Back:

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

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

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

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

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

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

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

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

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

Vintage WVIZ TV-25 Mug

I spent this past weekend dogsitting for my brother. Since I love dogs, especially these dogs, this was no inconvenience, but my wonderful generosity meant that the typical thrift store adventures weren’t going to happen. Since my main hobby is digging through stuff people couldn’t see fit to hold onto, well, let’s just say I don’t like being taken out of my comfort-zone.

Also, my cellphone is apparently not right in the head; I discovered that the only way to charge it without it constantly resetting/freezing/angering me to the point of violence is to shut it down completely and charge it that way.

It was immediately following one such charge-session that my reawakened phone alerted me to a text from my good friend Jesse. Jesse knows that I collect broadcasting memorabilia, and helpfully keeps an eye for me, which I certainly appreciate – especially when other duties keep me from hitting up stores myself, as was the case in this particular instance.

And boy, he found me a doozy: a vintage plastic mug for Cleveland & Akron PBS affiliate WVIZ TV-25! Cool winnins! Thanks Jesse!

My eyes were immediately drawn to the logo used. Logopedia sez this style was used from 1978 all the way up to 2000, but the exact variation of it as seen here (solid color, font of the call letters, etc.), coupled with the styling of the mug itself, methinks it almost certainly has to come from, if not the late-1970s then at least the early-1980s.

An online search, both via Google and eBay, told me nothing. In fact, besides the logo info and gut feelings on my part, I really don’t know much more about this mug than what I’ve already shared. It doesn’t take a giant leap to assume it was part of an annual pledge drive, though. I mean, that slogan “I’m part of the picture,” how could that not be pledge-related? Since PBS is, you know, funded by the public, this mug was (presumably) proof that the one using it made up a piece of the fabric that was public television in the Cleveland / Akron market at the time. Or something like that.

When it comes to PBS in the Northeast Ohio, there were, and are, two choices: WVIZ of course, but also WNEO-45/WEAO-49, which serves Cleveland, Akron and Youngstown – and more? Go read about it yourself on that Wikipedia link.

Anyway, from where I’m situated, I can’t remember a time when I couldn’t pull in both affiliates. Sure, much of the programming was identical, but just like the WEWS/WAKC ABC situation here up through the mid-1990s, we got both. I didn’t really understand it growing up, but looking back, it’s sorta neat.

Of the two, I prefer WVIZ, but that’s not an opinion being swayed by this mug; it’s just the one I’m more used to, though there are points in my history where it’s been an even-split.

Still, my fondness for 25 increased my happiness with this mug, absolutely.

Like any other Northeast Ohio kid, a good portion of my formative years were spent with PBS. Sure, every kid watched Sesame Street, but for me, there was also Bob Ross, The Frugal Gourmet, and This Old House, all of which also colored my childhood. Or course, nowadays I can’t paint to save my life, asking me to cook anything but the most basic of meals is an exercise in frustration, and attempting to build anything beyond a paper airplane is just asking for a trip to the emergency room, but still, it was nice growing up with all that.

And believe it or not, it’s all running through my mind when I look at this mug, even though it’s (probably) a bit before my time and I never actually saw an example of it until this last Saturday. Go figure!

Vintage WDSM TV-6 DIALING FOR DOLLARS Keychain

I’m going to go outside of Northeast Ohio (but not the Midwest) for this update, because it’s my blog and I’ll do whatever I want. There’s only so much I can say about the subject, both because of its nature and because I’m neither from the area nor era in which it hails, but this is such a neat piece of vintage television memorabilia that it needs to be archived. Even if said archiving is on my stupid dumb website.

Backstory: I’m a big fan of the various incarnations of the Dialing For Dollars franchise that aired nationwide (though each market got their own locally-produced version). You may or may not recall this was a daily program, typically airing in the late morning or early afternoon, in which a movie was shown and viewers were phoned live on-the-air during breaks and given the opportunity to win a cash prize – a jackpot that would increase for the next lucky person called if the one prior failed to win it. Certain game play details could vary from iteration to iteration, but Wikipedia has an excellent write-up on the normative format and program in general. (NOTE: Apparently some incarnations of the show were standalone deals and didn’t feature a movie, instead focusing solely on phone-call action. I guess.)

Obviously, with the live, daytime format and (presumably) lengthy block of time it would take up, having a regularly-scheduled Dialing For Dollars today just isn’t feasible. Too many people work during the day or are busy streaming inconsequential crap on their smartphones to pay enough attention to something like this now. Still, there’s little doubt it was a wildly successful franchise across the U.S. for decades, and as an example of not only television history but local television history, the “cool factor” is off the charts.

Here in Northeast Ohio, we had Prize Movie on WUAB TV-43, which wasn’t quite the same format as Dialing For Dollars but still had the ideal of live callers, daily movies and (potentially) big money prizes at heart. ‘Course, if you headed Youngstown way, you could see WFMJ TV-21’s Dialing For Dollars, as well as the Money Movie over on WKBN TV-27. Whether you could get those stations in my particular neck of the woods probably depended on weather conditions and/or how cheap you decided to be when you purchased your rabbit ears. You better reach deeper in them pockets if you want extra channels, sport!

(There was also something called the Bingo Movie on Canton’s WOAC TV-67 in the 1980s, which I can only guess was similar in spirit if not in practice.)

ANYWAY, Finding artifacts pertaining to Dialing For Dollars is a little tricky; for obvious reasons, there weren’t any official video releases of these programs (to the best of my knowledge), and besides, a good many of these aired either before or during the infancy of the home video era. (Though some, such as our Prize Movie, ran well into the 1990s; it really all depended on the market.)

So, that leaves the, as I like to call them, “supplementals.” You know, the promotional items. Things like glasses, mugs, TV listings and advertisements, and as our subject today demonstrates, keychains. I collect television-related stuff like this anyway, but Dialing For Dollars is an area of extreme particular interest in that, erm, area.

(Boy, I sure killed the end of that paragraph dead.)

And that brings us to the eBay-purchased promotional item you’re seeing to the right. From WDSM TV-6 of Duluth and Superior, MN, it’s a vintage keychain spotlighting their local version of Dialing For Dollars. I don’t know what year(s) it hails from exactly, but since Wikipedia tells me WDSM became KBJR in 1974, it’s at least as old as that. Neato!

The ring and chain project some old-timey vibes, as in I can’t see a modern day keychain using either style (unless they do; it’s not like I keep heavy tabs on this stuff) but it’s really all about the Dialing For Dollars fob here. It looks like a film reel! (well, okay, it’s probably actually supposed to be a rotary phone dial.) And check out the “R,” or rather, the swoop (?) coming off of it: it kinda sorta looks like a strip of film! Apropo! (I hope; I don’t know if WDSM’s iteration was a movie showcase, or a standalone thing like I mentioned above.) Also, lotsa dollar signs, because big money was at hand and it was just waiting for you, yes you, to win it!

Look, the thing is just cool, okay? I’m going to assume it’s an approximation of the actual logo used for the show, but that’s merely guesswork on my part and based on nothing substantial whatsoever.

I don’t know who hosted WDSM’s iteration of Dialing For Dollars, nor do I know for how long. A Google search told me nothing. TV Guides from the area would probably reveal some print ads for the program, but without knowing some rough dates, searching out appropriate issues on eBay could quite conceivably be like the proverbial needle in a haystack, and while I’m always up for a quest, I’m far too broke to attempt such a thing right now.

That’s my long-winded way of saying that anyone with any memories and/or info pertaining to WDSM’s Dialing For Dollars is invited to hit the comments and share what they know. See, this is an interactive site!

The other side of the fob features the station identification and location. More $$$igns, and look close for the covert, kinda-easy-to-miss “6.”

I wonder how people could obtain this keychain back in the day? A giveaway at personal appearances by whoever hosted the show? A consolation prize to those who failed to win the mighty dollars? I don’t know, but it’s definitely cool.

You’re not getting a true sense of scale from my pictures, and I don’t really feel like digging out a measuring implement to give exact dimensions, but the fob is about the size of a larger coin, as in it’s positively quarter-ish. Minus Abraham Lincoln’s George Washington’s visage plastered all over it, of course.

In fact, remember those Sacagawea dollar coins nobody really liked? Maybe they still strike them, but either way, I refuse to believe their inspiration was anything other than this Dialing For Dollars fob. Yep, you can spit facts about the legendary woman and her helping Lewis & Clark at me all day, I’ll still maintain an obscure, regional keychain was the actual catalyst. An exercise in frustration for you, an exercise in amusement for me.

I don’t know what this keychain is made of. Obviously the fob is shiny and plated in gold or some gold-like substance. Could be 22 karats for all I know. The actual ring and chain look to have some mild tarnishing, as you’d expect of something this age, but there’s no rust anywhere on it, so it’s made of whatever is resistant to those substances.

All things considered, it’s in exponentially good condition. A little tarnishing, a little wear, but since it’s at the very least 44 years old, that’s beyond minor. I’ll guess whoever originally owned this never actually used it. However they got it, maybe they either babied it, or it got thrown in a drawer and forgotten about. Hey, we’ve all got stuff like that. I know I do.

So there you have it, WDSM TV-6 of Duluth and Superior, Minnesota and their local incarnation of the Dialing For Dollars franchise, immortalized as an old promotional keychain. Like I said before, I don’t know who hosted the series or for how long, and I have no idea as to the specific details of its format, either. And you know, it occurred to me that this exact keychain could have shown up nationwide, with only the station I.D. on the back varying from location to location. I mean, I’ve never seen one, but then, I’ve never seen another one like this, either.

WDSM wasn’t the only Minnesota television station to have a program of this nature, by the way. WDIO TV-10 (also of Duluth) and WIRT TV-13 of Hibbing ran the Matinee Money Movie, hosted by Lance Parthé, for a period. Maybe its run coincided with this Dialing For Dollars at some point, I dunno. I’d like a keychain representing that show too, though.