Tag Archives: the ghoul 55

EPISODE REVIEW: The Ghoul’s Presentation of THE TERROR (September 8, 2000)

Happy Halloween!

*sigh* But Halloween this year comes with a caveat; it’s our first without Ron “The Ghoul” Sweed. As is well known by now, the horror hosting legend passed away on April 1st of this year. For countless fans, including yours truly, it was of course an incredibly sad event; I’ve sorta gotten used to it by now, but for months, it was so hard to realize, and sometimes still is, that he’s really gone. It’s a strange feeling; even though we’re now over 20 years for much of his WBNX TV-55 run, time has passed by so fast, and by and large those shows don’t feel that old to me, that yeah, sometimes it feels like “but he was just on TV, he can’t be gone!”

Our Main Maniac (and nemesis Froggy)!

So, as a final tribute to the host that colored the lives of so many in Northeast Ohio and Detroit, let’s do one more Ghoul Power post before the year is out. Is there a more appropriate time than October 31st? I posit that there is not.

You may be looking at that header and wondering “why do an episode from September 8 for a Halloween post?” A fair question, to which I have two answers: 1) I strongly feel that horror host material from any date on the calendar works for a Halloween post because, uh, it’s a horror host. 2) Even though this originally aired in early September, there’s a strong Halloween vibe to the proceedings, even beyond what there would normally be, which we’ll see as we go along through this episode recap.

There’s an additional reason, too: there was no proper Halloween episode for the show that year. Indeed, this was the penultimate show of his ‘prime’ run on 55; from his debut on the channel on July 10, 1998, The Ghoul ran at 11:30 PM Fridays. At the time of this airing, that would continue for exactly one more week, and then starting on September 24, he’d be moved to Sundays at midnight (technically Monday mornings, so September 25 if y’all wanna get technical), and his movie selections greatly (but not always) altered drastically. As such, this was one of the last times Northeast Ohioans would be able to see him on the day/time that was a natural fit for him. (I could review his final show at 11:30 PM Fridays on September 15 for this article, but I’ll save that for a theoretical 20th anniversary post next year. No promises though; there’s always the chance I’ll have tired of this blog by then.)

You wanna know what The Ghoul got to run for Halloween 2000? Alice in Wonderland. As in, the Disney movie. No sound effects, no drop-ins, just the movie straight; obviously it was in 55’s movie package and subsequently foisted upon the Main Maniac. Even though there were some Halloweeny host segments, they still didn’t really make the episode feel ‘right’.

That was all in the future however; for the time being, all we knew at home was that The Ghoul was where he belonged, running the kind of movie that belonged, and all of it marinating in the vibes that was and is Northeast Ohio in the fall. (Okay, okay, technically it wasn’t fall yet. It wasn’t officially fall until September 22, 2000; yes, I looked it up. But c’mon, August was over, schools were back in, for all intents and purposes that’s fall!)

So anyway, this episode. After the show’s opening theme, the episode started with a computer animated sequence in which a Ghoul-shaped spaceship…flied through a black hole? I’m really not sure how to describe it, and screencaps won’t be of any help. So instead, let’s first talk about the movie: 1963’s The Terror. We’ll get to The Ghoul stuff afterwards.

THE TERROR’s title screen, obviously.

The Terror has long been a public domain staple. Over the decades, there have been countless home video releases, and needless to say, numerous television airings. With a big name cast and crew and colorful Gothic scenery, it’s a natural fit for horror hosting. A Roger Corman product, the movie was hastily filmed to take advantage of the still-standing sets from The Raven (the story goes they were basically being torn down *during* filming), so it sure looks better than it has any right to. The plot leaves something to be desired, but there’s something oddly entrancing about the movie nevertheless.

Jack Hill and Francis Ford Coppola (!) were apparently among the uncredited directors for the flick, but it’s the two stars that really raise the figurative eyebrows (and make this a natural for releasing/televising over and over and over…not to mention that whole public domain thing): Boris Karloff and Jack Nicholson! Easily the most immediately visible aspect of the film, the two big name stars (well, later-to-be big name star, in Jack’s case) basically carry a film whose plot is kinda awful.

Nicholson and Karloff, in the roles they were born to play?

Set in the 1800s, the movie concerns Napoleonic officer Andre Duvalier (Jack, in a role I like to imagine he’s pretty proud of), who, while following a mysterious girl, happens upon the mansion of one Baron Von Leppe (Karloff). It seems the girl Duvalier was following is some sort of apparition, the consequence of the Baron’s murdered wife 20 years prior…or something like that. Also the Baron isn’t really the Baron, and then there’s a flood in the mansion’s crypt, a witch that gets struck by lightning, and…and… Look, just go and read the the summary in that Wikipedia link, okay? It explains things better than I ever could. (Luckily, since the movie’s public domain, I don’t have to fret too much about fair use and details here!)

For years I hated The Terror, for the simple fact that it was seemingly everywhere. Too many TV airings, enough VHS releases to trip me as I walked down the street, and a movie I didn’t like enough to make me okay with any of that. The Terror was an ever-present thorn in your Northeast Ohio Video Hunter’s side, man.

But you know, in more recent times I’ve come to gain some kind of appreciation for the film. No, it’s not very good technically, but somehow, it manages to be entertaining nevertheless. The plot is what it is, but that sumptuous early-60s color, terrific Gothic scenery, generally ‘spooky’ atmosphere, and of course Boris Karloff and Jack Nicholson, it all combines to create a film that just works, inexplicable as that may sound. To me it’s more of a flick that you let ‘wash over’ you than one you seriously sit down to watch (if that makes any sense), but that’s to its benefit, not detriment.

(And besides, no matter how bad you think The Terror may be, Karloff made worse. Seriously, I watched House of Evil – one of those U.S./Mexican productions released after his death – a few months back, and bluntly put, that film is unwatchable crap. The Terror manages to attain a weird level of endearment, if for no other reason than because of who it stars, how it looks and the fun backstory behind it. House of Evil has no such qualities; even Karloff couldn’t save it, and that’s not a statement I make lightly. The Terror is a five star tour de force compared to that garbage.)

Whatever plot issues The Terror may have had in the first place were only exacerbated when this film showed up on The Ghoul Show. I’ve said this before, but at that time, you didn’t really tune into The Ghoul to watch a full-fledged horror flick. With all of the editing that could hit a given movie, and with numerous (and often quite lengthy) host segments littering the breaks, the film sometimes seemed like an afterthought. Add in all the sound effects and drop-ins and such that The Ghoul employed, and frequently you got less of a movie and more of a random patchwork of scenes – and rest assured, that was part of the fun!

The Terror certainly didn’t make it through unscathed, either. Why would this film be an

One of The Ghoul’s many “fact bubble” gags from his 55 run.

exception? The plot, or what there was of a plot, was made even more incomprehensible with all the cutting to fit more Ghoul stuff in. (Good!) One sequence, a somewhat-disturbing falcon attack, was excised entirely, for example.

But like I said, that was part of the fun. And, things were made all the better with the sound effects, music, and as you can see here, humorous “fact bubbles” (not unlike Pop-Up Video; remember that show?) that The Ghoul would throw at a given feature. That was also, needless to say, part of the fun, too!

The Terror isn’t exactly Night of the Living Dead when people think of “classic Halloween movies.” At least, I don’t think of it as one. And yet, it somehow still ‘fits’, even beyond the genre it’s a member of. The look, the feel, heck, even the title, it just seems like the kind of flick you’d have playing in the background of a Halloween party, or as you wind down the night in front of the TV, or what have you. Like I said before, this episode aired on September 8, 2000, but given this film and some of the Ghoul material we’re about to look at, it feels like a good match for today. Well, it does to me, anyway.

Okay, now it’s time for The Ghoul stuff!

Cooling it wit da boom booms!

All though they could be mixed in at any time in the show, typically the first commercial break lead-out sketch was a blow-up segment – one of the chief hallmarks of The Ghoul. Going back to the Ghoulardi days, people would send in models and the like to be blown up on-the-air. I wasn’t around for Ghoulardi, but in The Ghoul’s case, usage of “the boom-booms” was practically an art form. A noisy, destructive, funny art form.

This time around, someone sent in a werewolf riding in what appeared to be a hot rod (and complete with a cool full moon back drop to boot). As would occasionally happen, the first boom boom was a dud, leading The Ghoul to come back in the shot to try again. The second one worked, obliterating the wolf, but the rod seemed relatively unscathed. I always kinda preferred it when every part of whatever was being blown up was, erm, blown up (i.e., leave no piece un-destroyed!), but the werewolf was obviously the main attraction here, so mission accomplished.

This shot just screams “fall in Northeast Ohio” to me.

The first proper host segment was an example of my favorite kind of Ghoul bit; there was an actual purpose behind it, but mainly The Ghoul was just messing around. I always like it when a host is more ad libbing and shooting the breeze with the crew than ‘doing’ something, and, well, The Ghoul was pretty good at that sort of thing. Here, he takes the opportunity to superfluously throw a (lit) boom boom on the floor, dance around, take some good-natured digs at Wilma Smith (the channel 8 anchorwoman was a favorite target of The Ghoul), mention an article on Jungle Bob, comment on the bottle caps used for bottles of Ghoul Brew (evidently they weren’t all twist-offs!), all before getting to the real point of the segment: that coming October 7th, The Ghoul would be appearing at the 3rd annual “Pumpkin Chuckin'” event in Madison, Ohio, in which pumpkins were catapulted high into the air to the delight of all. Evidently this is a real, nationwide thing, which I honestly did not know until I went looking to see if this Madison, OH event still happens. (I couldn’t tell. I don’t think so?) In addition to showing some footage of the chuckin’ from the previous year, The Ghoul mentions he and the crew would be there all day, there would be a Ghoul lookalike contest for the kids, and a pumpkin eating contest. I imagine a general air of frivolity, too. Honestly, it sounds pretty awesome and something I’d actually consider going to. As you can plainly see, despite the September air date of this episode, the Halloween festivities were already in motion.

Footage from The Ghoul’s appearance at this Pumpkin Chuckin’ event would air on the show that October…after it had been moved to Sunday nights. What was the movie that night, you ask? A 1990 made-for-TV drama starring Rue McClanahan and Patrick Duffy titled Children of the Bride. Yes, really. If you read my 20 year Ghoul Power tribute article (linked at the start of this article), you’d know the Sunday/Monday era of the show could hold some surprises, some of them pleasant, but then, there were other times when movies like that had to be shown. No sound effects or drop-ins either. Suddenly Alice in Wonderland don’t seem so bad no more!

An impromptu (?) basement sale visit…

Even though this episode is more of an autumnal piece, because it took place so soon after summer, there’s a lot of looks at places The Ghoul went and things he did during that time. (It was also a reminder that the school year had just started, not an ideal situation for kids like me!) Much of this footage is interesting, if for no other reason than to see The Ghoul out and about – something that sadly can’t happen anymore – but it’s not very conducive to an episode recap. So, I’ll probably power through much of it.

First off, The Ghoul and crew stopped at a basement sale, which appeared to be not unlike your common yard or garage sales…except in a basement. From sounds of it, this was a genuine surprise to (I surmise) the home owner, who nevertheless got a kick out of it. The Ghoul also carried the big giant “Kielbasi of Wisdom” (a big plush kielbasi) around for much of this on-location stuff, which is just such a Ghoul thing to do. They got a big kick out of the home owner’s ecstatic declarations that this is “the real Ghoulardi,” so much so that they repeated the audio as the segment fades to break.

Having fun with a pair of wax lips.

The next segment found The Ghoul fiddling with a pair of wax vampire lips, because according to him, “Halloween comes and goes so fast, you better start celebrating while you can. So that’s why we’re doing it now!” (See, told you this review was a fit for today!)

That’s followed by declarations of “Osaka!” which then led into them playing of “Who Stole the Kishka?” not unlike whenever “Parma?!” was yelled. (Something else that went back to the Ghoulardi days.) According to The Ghoul, this was for the benefit of their new viewers that were now seeing the show in Japan; I forget the genesis of this but methinks this was just a running gag. I mean, unless there was some wacky satellite hookup or something, could they really get the show in Japan? I don’t think the show reached outside of Northeast Ohio, let alone Japan! (Still, the “Osaka!” declarations are funny, and again, such a Ghoul thing to do.)

There’s some footage of The Ghoul performing on-stage at some event (I’m a little unclear on where, but it looks like an actual house party that The Ghoul & Mr. Classic (of WNCX’s Saturday Night House Party program) showed up to. The Ghoul did a little emceeing and performing, and it’s fun but not really conducive to screencapping.

No kidding, I *love* this idea!

HOWEVER, the next bit of personal appearance footage, from the Parma location Daffy Dan’s, has a really great moment that I wish I could have simulated. Someone actually asked The Ghoul to sign their car! Now that’s awesome! I wonder what happened to the car? Do they still have it? Did they put a protective coating over the signature? I’d hope that if they got rid of the vehicle later, they at least kept the door!

Froggy pummelin’!

There was more fun to be had at Daffy Dan’s too, this time at the Lakewood location. (There used to be several Daffy Dan stores, though near as I can tell there’s only one left, which is a shame considering what a Cleveland institution it was/is. The only one left seems to be in Lakewood; same as this one here?)

It seems like this appearance is where he first got the giant “Kielbasi of Wisdom,” so of course he took the opportunity to pummel Froggy with it. (Footage of The Ghoul tossing the kielbasi at Froggy and knocking him down was later used in the intro to the Sunday/Monday shows, later in 2001 if I recall correctly.)

The Froggy abuse is fun, but what I’ve really got my eye on here is in the top screencap: lookit all that Ghoul merch! Daffy Dan’s was one of the local places they got to regularly stock his stuff back then, and just from this clip alone I’m seeing bottles of Turn Blue Ghoul Brew and Froggy Squeezin’s, plastic travel mugs, and t-shirts. *sigh* If I could only go back in time…

(No kidding, I collect broadcasting-related mugs and glassware and such, as you well know, so my failure to get one of those plastic travel mugs, or swanky glass mugs they also sold around that time, was a serious mistake on my part.)

A new stool and bumper stickers.

Next segment had The Ghoul with the kielbasi on the set, waxing on the possibilities it opens up. “It just sort of, uh, creates a plethora of adventures to do stuff with!” Funny!

Also on the docket: The Ghoul got a new stool. “It swivels?!” He seemed pleased by the addition.

There was also a very brief look at the then-new Ghoul Power bumper sticker, which I believe was still available up until maybe a year ago or so? Again, if I could only go back in time…

(This is all followed by more on-location footage, including some at the start of the next commercial break, that quite frankly I don’t have much to say about. It’s neat, it’s interesting, but out of context, I’m sort of at a loss for words. The abundance of location shots is, I’m guessing, why some of the regular features of the show at the time, the vintage clips via The Vault of Golden Garbage and Jungle Bob’s animals segments in particular, weren’t present in this episode. The Vault would occasionally be skipped when there was a lot of extra material, but Jungle Bob rarely was. Or maybe JB was just busy that week, I don’t know, it’s not like I was there.)

I so wish they still made Ghoul Brew…

Interspersed throughout all of the personal appearance bits is one more legit host segment, including a reminder for Pumpkin Chuckin’ (I wonder if they knew the show was heading towards Sunday nights, and that’s why they were pushing the event so much, even though it was just under a month in the future? Take advantage of the more visible slot while they could?). Also something that’s really, really cool, despite being beyond common at the time: The Ghoul showing off Turn Blue Ghoul Brew. Not one, but two this time. The Ghoul: “Drinkin’ in stereo, boys and girls!”

(For those unaware, Turn Blue Ghoul Brew was, obviously, The Ghoul’s very own beverage, a non-alcoholic concoction that was basically blue root beer. It was tasty, and it really turned your tongue blue! I still have some unopened bottles, which I liken to expensive wines but far cooler, cause, uh, blue. Later, Froggy Squeezin’s were released, which was a green lemon-line drink, also non-alcoholic, and also tasty, though I only had it one time. The story behind that is in my 20 years tribute article that was linked to earlier.)

Bouncin’ on out of the studio for the week.

And finally, the outro segment. It’s a pretty long one, over 8 minutes, and after showing off the giant sub the crew had for after the show, some random goodies, and yet another reminder for Pumpkin Chuckin’, it was time for The Ghoul to bounce on out of there for the week, as he customarily did at the end of each show.

It was never fun seeing the show end, but it takes on an added, bittersweet air now. Not just because The Ghoul has since passed, but also because, frankly, we just wouldn’t be able to watch the show like this for much longer. Next week was it. (The following week’s movie was 1940’s The Ape, also starring Karloff, but unlike The Terror is a film I genuinely love – though it took me years to warm up to it, as well.) While there were definitely some highs to the Sunday/Monday era (and, though I had stupidly checked out for virtually all of it, I assume the Friday night/Saturday morning 3:30 AM era that started in fall 2002, too), this was pretty much it for ‘prime’ Ghoul Power. Despite having the longest run of any of his stints on Cleveland television (about 5 1/2 years), The Ghoul’s stay on WBNX as people think about it was just about over here.

I didn’t know about the move to Sundays beforehand; it was announced the following week, almost casually, though The Ghoul obviously wasn’t happy with it. Did they know about the slot move, was it something they were hoping could be resolved in time, or was it sprung on them like it was the viewers? I just don’t know. I was gutted when it happened, though time and nostalgia and an objective mind has allowed me to greater appreciate much of what came after, much more than I did back then. Nevertheless, something special was in the process of passing on September 8, 2000, whether anyone knew it or not.

All that said, this was a good, ‘solid’ episode. Maybe it didn’t do anything earthshaking in the context of the series as a whole, but the on-location footage was a nice reminder of when The Ghoul really got around town. Furthermore, the in-studio stuff was, as always, entertaining. I’m guessing there was a loose framework to what he wanted to talk about, but it seems that The Ghoul would just ad lib most of his material, which of course was a big part of the atmosphere. Add to that a classic (well, “classic”) movie that lent itself well to the program, despite the butchering it received, and yeah, a real solid example of Ghoul Power. There’s an additional note of sadness: just over a year later, the world would go mad, and that indefinable aura of innocence we had beforehand would be gone forever. But that was in the future; for the time being, no such worries haunted the general populace. Or at least, they didn’t haunt the grade school kids like me who rabidly looked forward to these Friday night sojourns into lunacy.

And with that, our big Halloween post comes to a close. Have a happy and safe holiday everybody! Depending on how industrious I feel in the future, well, I’ll see you when I see you!

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Look how nifty this is!

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

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

This is fantastic.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Do Over Promo

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

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

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

Ody’s Clothiers & Tailors Ad

ODY!!!

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

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

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

Family Affair Promo

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

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

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

Elvis #1s CD & Cassette Ad

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

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

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

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

Birds of Prey Promo

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

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

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


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

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

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