Tag Archives: wax 35

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Still from a SOG promo. (1997)

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

Handy Randy promo still. (2008)

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

Promo still for Smoochie’s program. (1998)

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

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

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

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

The AIN station I.D. (1998)

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

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

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

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

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

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

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


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

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

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

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

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

He’s indestructible, and a man, hence…

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

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

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

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


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

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

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

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

Come ON, Tarzan! Stop foolin’ around!

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

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

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

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


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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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


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

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

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

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

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

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

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


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

You’ve probably heard of this movie, right?

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

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

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

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

You’ve probably heard of this guy, right?

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

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


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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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


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

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

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


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

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

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

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

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

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

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

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

Fare thee well, WAOH TV-29!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Happy 31st anniversary, Son of Ghoul!

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

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

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

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

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

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

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

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

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

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

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

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He sure wasn’t kidding, either!

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

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

“The Oooodlubb—“

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

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

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

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

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

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

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

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

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

(Full disclosure: I still kinda like Urkel.)

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Mail time!

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

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

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

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The personal slant I mentioned earlier!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

Quaker Square Christmas Village Ad

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

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

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

Princess Diana Commemorative Stamps Ad

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

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

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

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

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

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

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

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

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

JC Comics & Cards Christmas Ad

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

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

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

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


Alright, enough.

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

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

Son of Ghoul 30th Anniversary Tribute!

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That screenshot above was taken nearly five years ago, during Son of Ghoul’s 25th anniversary special. (Has it really been five years? I refuse to believe five years passed that quickly!) A momentous occasion for sure, and a marvelously entertaining episode to boot. Interviews with past crew members, historic clips and bits, and an honest-to-goodness movie (The Most Dangerous Game), it was a fantastic show that stayed on my DVR for, no joke, around 6 or 7 months. It was like the perfect summation of what made Son of Ghoul, well, Son of Ghoul.

However, something SOG said, not during that episode but during a later show, has stuck in the back of my mind ever since it was uttered: when describing his 20th and 25th anniversaries, he made an off-hand comment about a potential 30th, essentially stating he had no idea if he’d even make it to 30. It was something along the lines of “Can I make it that long?” It was a throwaway line, not even really a joke, but it did bring up an interesting question: in this day and age of waning local television, where horror hosts in particular are an increasingly endangered species, could SOG hold in there for the big 3-0? How long can a good thing last?

I don’t know where today falls in the ultimate larger picture of The Son of Ghoul Show, but I do know that Keven “Son of Ghoul” Scarpino has accomplished the nearly impossible: a horror hosted movie showcase that has continuously run weekly since June 13, 1986 – 30 years ago today!

Make no mistake, this is a monumental achievement. Any television personality doing what they do for an uninterrupted 30 years is something to be celebrated, but a horror host? It’s not unheard of for one to run for a number of years, leave the airwaves (for one reason or another), and then come back some time later. But, to stay on for three decades, simply by doing what they do best? All while facing station changes, shifting television landscapes, and the decline of horror hosts on over-the-air TV stations nationwide? Just how does that happen?!

In fact, he is easily one of the longest continually-running horror hosts in the nation! Indeed, it seems he is THE longest running! That just makes this achievement all the more amazing!

It’s times like this that I count myself especially fortunate to be a Northeast Ohioan, or at least a TV-watchin’ Northeast Ohioan. It seems like if a local television personality has had an impact on us, they never really go away. I mean, Ghoulardi was only on from 1963 to 1966, and yet, Ernie Anderson’s iconic host is still instantly recognizable around here. And Big Chuck & Lil’ John? Even when they ‘retired’ back in 2007, they were still all over the place, and then they came back to TV in 2011. My point is, if you can make it around here, there will always be a place for you, somehow, somewhere.

Throughout all the changes in television in general, never mind locally, over the last 30 years, SOG has been there, doing what he does best: hosting a movie, performing in some skits, interacting with the viewers. It’s perfect “sit back and chill” weekend entertainment, and SOG has it down to a science. I simply can’t imagine a weekend without his show, a fact that made his uncertainty in regards to reaching 30 years a bit unsettling. Northeast Ohioans have long memories, but I suppose nothing and no one is immune to the sands of time.

But for now, SOG is still here, still plugging away, and I couldn’t be happier about it. I go way back with the show. Indeed, quite a few of my weekends have featured The Son of Ghoul Show, starting all the way back to the fall of 1997. In many ways, my love of local broadcasting can be traced back to The Son of Ghoul Show. That’s not a small statement I make, either.

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The man himself, via an exclusive shot taken at his 1997 personal appearance at JC Comics & Cards. Check out the SOG cake to the right!

Anyone taking even a cursory glance at this blog has undoubtedly seen the presence SOG has had; I’m blatantly and unabashedly a longtime fan. We’ve looked at an episode or two, he’s gotten specific shout-outs during all three of my Ghoulardifest write-ups, and heck, I even took the time to post an update when his time slot was shifted back in February 2015. ‘Course, it was the big extensive interview with the man himself nearly two years ago (as of this writing) that was the ultimate example of SOG on this BLOG. (See what I did there?)

So yes, SOG reaching 30 years on the air is a big deal in general, but especially for me. Why? Because I’ve been around for 19 of those 30 years. I had seen Big Chuck & Lil’ John first, and was aware of Superhost in my formative years, but truthfully, it was SOG that introduced me to this whole Northeast Ohio horror host deal. And therein lies some nostalgia…

(I know I’ve related some, or all, of this before, so please, bear with me…)

I first discovered the show in the fall of 1997. At the time, I was looking for a Mystery Science Theater 3000 surrogate. I had become (and remain to this day) a die-hard fan of MST3K, but at the end of summer ’97, it was too expensive to keep the premium cable box needed to access the Sci-Fi Channel, and thus, MST3K (the network later became part of our basic cable package, but that was a few years away). Being only 11 years old, I didn’t have much say in the matter, and so, as summer came to a close, it became increasingly obvious I needed something to satisfy my bad movie-mocking needs.

Also during that same summer, I had become aware of “The Cat,” TV-29 in Akron, TV-35 in Cleveland. While I was primarily a horror and sci-fi fan (albeit a still-burgeoning one), The Cat introduced me to a wider range of older, sometimes wildly obscure, flicks. B-westerns, silents, foreign films and so on, I quickly found a growing interest in all of them.

By the time fall came around, I was jonesing for MST3K, or something similar, and I was jonesing bad. In retrospect, it’s a bit odd that it took me several months to actually discover The Son of Ghoul Show, but the fact is that some idle channel-surfing one Saturday night landed me upon SOG’s annual Halloween show. He was on Friday and Saturday at that point, same episode both nights, so I guess this would have been November 1, 1997 (since an online calendar tells me Friday was October 31st).

The movie was the original Night of the Living Dead, a flick he runs each Halloween. My brother Luke was watching with me, and as I recall it, we turned the channel on just as SOG’s introductory segment was coming to a close. The movie started shortly thereafter, and man, that was all it took. Before long, I was hooked. It took me a minute to realize that SOG was dropping in sound effects and music into the movie, but I loved it. I loved the film too, which was my first time seeing it.

But it was the host segments and skits that really got me. SOG was something entirely new to me. A genuine horror host, a concept I only had a vague notion of prior (I never thought of Chuck & John as horror hosts until later, and besides, it took me a few more years to really appreciate them). He was witty, he was acerbic, he was silly, he read mail. In short, it was everything I had been craving. In that single two-hour block that Saturday night, an entire new world of television, of comedy, was opened to me. Baby, I was done.

And he was ours! This was all local! SOG is the kind of entertainer anyone from anywhere can enjoy, but his program takes on a whole new dimension if you’re from the area. I doubt I was cognizant of all that when I watched for the first time (in fact, I’m sure I wasn’t), but it’s a factor that became increasingly important to me the more I watched and the bigger a fan I became.

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Another exclusive shot taken at JC Comics & Cards. Here SOG autographs a promotional picture, for either my brother or myself. We both still have our signed pictures to this day, either way.

Even though it was only until the following week, it was a long, long wait for the next episode. I was in 5th grade, and while (as I recall it), the other kids were into wrestling and/or MTV and whatnot, I personally could not wait to see more of this new thing I found.

Finally it was there; the movie was The Vampire Bat, and I knew I had made the right decision in jumping on this bandwagon. (I also learned it was the same movie, same episode both Friday and Saturday nights, but this wound up being beyond helpful. If I particularly liked a movie or bit, or one of the letters I later started sending in was on, I could sample Friday night and record Saturday night.)

From there on out, it was a constant sense of discovery. Nearly every single week, I was seeing a movie completely new to me. Okay, sure, they weren’t good movies, but they weren’t supposed to be! I can’t say this is where my love of watching bad movies because they’re so awful began, but the selections SOG ran certainly helped fuel the ongoing desire for a good baddie. The Hoodlum, The Corpse Vanishes, Santa Claus Conquers The Martians, Colossus and the Amazon Queen, all of those (and many more!) were introduced to me via SOG. I can’t say I ‘love’ the films, but they hold a nostalgic place in my heart nevertheless, simply because of how and where they fall in my lifetime.

And it was all so funny! I loved the mail segments, where SOG’s acerbic, sarcastic wit was on full-display. He had no problem goofing on the letter writers, and really, that was part of the fun, even if you were the one who had written in! And the skits! Barfaby, Mr. Banjo, Fatman and Rotten, Zero, Eat At Joe’s, and even the one-offs, so much of it had a hip, edgy, oftentimes “warped” tone that made the whole experience irresistible. I mean, “Genie of the John,” in which SOG played the titular character, one who emerges from a toilet? Stuff like that appealed (and appeals) endlessly to me.

‘Course, when I began watching, I didn’t really know about the first home of the show (Canton’s WOAC TV-67, from 1986 to 1995), and thus what bits were new and what bits old. Nor did I have a full understanding of the Ghoulardi lineage, only a vague knowledge of the tradition. (Ah, the days before the internet presented every last drop of information at the touch of a button!) This was almost all totally new to me, but I loved it.

Within just a few weeks of my becoming an instant mega-fan, SOG announced on the air that he was going to be making a personal appearance at JC Comics & Cards on State Road in Cuyahoga Falls. JCs?! I knew right where that was! It was practically just down the street from me! Dare I go and meet my newfound hero? Of course! (By the way, JC Comics & Cards is still at the same location; you’d be well-advised to stop in and buy some stuff – there’s a lot of great things there!)

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That’s my brother Luke on the left. I’m the one on the right. A rare shot of me not being a total badass? I think I’ve aged for the better.

Looking back, his personal appearance at JC Comics & Cards was probably my first real celebrity meeting. Okay, my school had a Cleveland Indian (don’t remember his name) appear and sign autographs once, and I had gotten baseballs autographed outside of (then) Jacob’s Field before, but as far as being a fan and specifically seeking out a meet-and-greet, SOG was the pretty much the first.

There was only one hindrance: I was a fairly shy 11 year old. It’s something I’ve long since grown out of, and nowadays I have no qualms with walking right up to a celebrity and bugging meeting them. But back then? It was totally uncharted territory for me. I didn’t quite know what to expect.

So, the big day arrived. My brother, mom and I waltzed into JCs, and there he was: Son of Ghoul, in person! I was excited and insanely nervous at the same time. I needn’t have worried though; as has been proven time and time again over the years, SOG is absolutely fantastic with his fans. He was personable, he was funny, he answered all questions posed to him, he took pictures, he signed autographs. Even if I did lock-up once after asking him a question (shy and all, remember), it was a great experience.

In fact, here’s something about the visit that I’ll never forget: after we had met him, got our pictures and so on, I was browsing the comics, and I found that 1988 reprint issue of Action Comics #1, for $3. Without prompting, SOG came up and actually looked at it with me, marveling at the price and the 1938 date in the corner. I thought (and think) that was just the coolest. When a personality goes that extra mile to interact with a fan, it shows how genuine they are. In the years since, talking with SOG or watching him talk with other fans, I know my impression of him back in ’97 at JCs was spot-on.

It really is hard to put in words the influence SOG had on me growing up. His show helped shape how I look at movies, at comedy, at broadcasting, everything. And I’m not the only one; There were other kids my age that were just as enthralled with it as I was.

In fact, this blog has introduced me to one: Brett Van Wagner. He discovered this site due to the SOG content, he messaged me, and we’ve been chatting ever since. Even though he lives out-of-state and we’ve never met in person, I’m proud to call him friend. We’ve even had shockingly similar experiences with The Son of Ghoul Show, and we’ve both been fans for nearly the same amount of time. I’m going to turn things over to him for a moment here; I’ve known for awhile now how important his recollections of “SOG history” are, and when I came up with the idea for this post, he was the first one I asked to contribute. Here he is now in his own words…

Brett:

Where to start? First off, a huge thank you to the Northeast Ohio Video Hunter for letting me be a part of an article about such a historic moment in Northeast Ohio television! Although we have never met, I have enjoyed emailing the author of this blog and sharing memories and stories of Son of Ghoul for probably close to a year now. Our SOG stories are actually quite similar, and it makes me wonder how many other kids our age were watching the show at that time. While I live in Florida now, I make it home to NE Ohio from time to time and perhaps one day we will meet up at a convention or SOG appearance. But, thank you for allowing me to be a part of this!

I was first introduced to the Son of Ghoul Show sometime in 1997. My dad would occasionally have the show on, although it seems like my mom would always make him turn it off. My dad grew up watching both Ghoulardi and The Ghoul, and would talk about watching those shows when he was young. After months of catching a few minutes here or there, I remember the first episode I ever watched from start to finish. It was Friday, August 29, 1997 and it was the first week of 6th grade for me. After a week of realizing that middle school was now my life, I realized I needed something to take the edge off. The movie that night was Godzilla vs. Megalon and I only recently realized it was actually a rerun of the very first show to ever air on the CAT. Going back and watching that episode again, it makes quite a bit of sense, as SOG refers to the fact that we are now seeing him in prime time and actually in Cleveland quite a bit. A great episode to officially start watching. The episode also featured what would quickly become, and still is, my favorite SOG sketch, Mr. Banjo. I’m not quite sure what it was about that green-screened dog, but no matter how many times I hear the opening rifts of that song and hear SOG start to talk in that ridiculous accent, I truly laugh out loud every time.

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This is the Mr. Banjo character Brett is referring to. Coincidentally (as you’re about to read), this is from a promo for The Brain That Wouldn’t Die!

In all of the years, my favorite SOG movie is The Brain That Wouldn’t Die. Fittingly, my very first fan letter was read during a show that featured this movie on October 10, 1997. Honorable mentions for other movies that I have a soft spot for go to favorites such as The Giant Gila Monster, Alice Sweet Alice (the only SOG movie that actually scared me as a kid – love it now though) Phantom from Space, Plan Nine from Outer Space, Killers from Space, (I’m noticing a space theme here) White Zombie, and the lost but still survives on VHS collections somewhere, Lethal Justice.

Despite the dungeon and skulls the faux scary vibe of the show, what I took away from the show more than anything was a love of comedy. From all of the drops in the movies (yeah, I know Bill Cosby has kind of fallen out of grace in society in the last year, and rightfully so.. but those old comedy albums of his are pure gold and the way SOG would incorporate drop pieces from those albums into the movies and show were fantastic) to the incredibly dry and witty sense of humor SOG would posses during mail breaks and show segments, the show for me was comedy first and foremost. SOG never fails to make me laugh with one of his one liners or observations during a skit or mail break. In addition to helping me with my love and appreciation for comedy, SOG always reinforced my love of The Beatles. While most kids grew up listening to their sing-a-long tapes, I remember listening to our old Beatles LP’s as young as 3 or 4, and my love for the band is still just as strong all these years later. Knowing SOG shared that love and appreciation for the band and incorporated them so heavily on his show was the icing on the cake.

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Another exclusive shot of SOG at that fateful JC Comics & Cards appearance!

Just like the Northeast Ohio Video Hunter, the first time I ventured out to meet SOG at a personal appearance was in December 1997 at JC Comics and Cards in Cuyahoga Falls. Heck, maybe I have met him after all. What I do remember is how friendly and kind SOG has always been to his fans. He remembered me from letters I had written, talked to my dad and I, and was just such a nice guy. I would again go to many personal appearances, including the 1999 FrightVision where I would spent lots of time talking to my horror host idol and also had the chance to meet, according to the headshot, the one…the only…Fidge! Fidge was also the nicest guy in the world, and the years he and SOG spent together are the best years of the show for me. The last time I saw SOG (and Fidge) in person was in October 2002 when they had the stage show during Fright Fest at what was then Six Flags Worlds of Adventure amusement park. (Sidenote, I am also a HUGE amusement park and roller coaster buff. Geauga Lake Amusement Park, which was a Northeast Ohio institution that spent a few years as a Six Flags park before becoming Geauga Lake again under the same owners of Cedar Point, Cedar Fair, is a place that I miss more than anything and am super sad about losing) Back on track, even though I haven’t seen SOG in person since 2002, I have stayed in touch with him via e-mail and he is nothing but kind and helpful to his fans. Questions I have had regarding episodes, etc, always are answered and he is just the nicest guy in the world, despite what he may want us to think from his on air persona.

It was so sad to hear of the passing of Fidge, especially because of the circumstances, in 2003, and SOG handled it with such class and respect in the tribute episode. Between that at the recent Colonel Klink tribute episodes, SOG has proven that even in the worst situations, he is the ultimate professional and is able to bring the audience together to celebrate the lives of two great men who were so influential on the show.

As the years went on, I went off to college and then moved to Florida eight years ago. I’ve experienced several jobs, a few serious girlfriends, and the usual ups and downs of life. Still, I always caught SOG any time I was home in Ohio on a Saturday night. In the more recent years, I have purchased over 20 episodes of the show from the SOG website and as time continues to go on, I’m sure I will purchase 20 more. Any time I am feeling a bit homesick, or just at the end of a long week, the excitement and comfort of popping in a Son of Ghoul DVD is just as strong as when I first discovered the show nearly 19 years ago. There have been countless horror hosts that have come and gone, but for one host to be on for 30 consecutive years is truly an amazing feat, especially in today’s constantly changing broadcast world. Hats off to the Son of Ghoul. I can only hope he appreciates not only the accomplishment of 30 years on the air, but how influential he was for kids like me who didn’t really have a place to fit in. Thanks for everything, SOG. Here’s to a happy 30th anniversary, and hope for many, many more.

Brett Van Wagner

It really is wild how close our experiences with the show are. I think we would have become fast friends back in the day, and I’m certainly happy to know him now. His contribution is invaluable to this article and I can’t thank him enough for providing it. You is good people, Brett!

Brett also touched on a great point: it hasn’t always been smooth sailing for the show. The fact that it has continued to survive though every seemingly-insurmountable obstacle shows not only how durable the show is, but how good SOG is at what he does.

The Son of Ghoul Show has survived a nasty lawsuit in the late-1980s, time changes, station changes, the switch to digital TV in ’09, the eroding of local TV in general and the presence of horror hosts in particular, even actual deaths…

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The passing of Ron “Fidge” Huffman in 2003 was an absolute shocker. Fidge was SOG’s sidekick, and in the late-90s/early-2000s, he was ever present. He took a lot of abuse on the show, but I think he knew it was all in fun; his presence gave the program something of a “warped” Big Chuck & Lil’ John quality.

I had the fortune to meet Fidge at FrightVision ’99, where that autographed picture above comes from. He couldn’t have been any nicer; it truly seemed like he got a kick out of the whole thing, and it showed when meeting his fans. I’m truly sorry that he passed; I’m glad I got to meet him when I did.

Something else Brett mentioned was the more-recent death of Jim “The Colonel” Klink. Klink went way back with our local horror hosts, sending tons of his artwork to Superhost and later SOG. Not only that, but at least as far as SOG went, he’d send in packages of random items, always decorated with a variety of stickers on the outside (as SOG said once, he couldn’t believe the post office accepted them!). Needless to say, SOG ragged on Klink quite a bit too, but again, it was all in fun.

I never met Klink, though I did see him walking around at Ghoulardifest once or twice. I wish I would have went up and spoken to him now. Still, he did leave this nice comment on my interview with SOG page, and it’s worth sharing here:

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The outpouring of grief online for Klink was quite large, and reading that comment, it’s easy to see why. He was a genuinely nice, enthusiastic fan, as his note above makes abundantly clear.

As Brett mentioned, SOG’s tribute shows to both Fidge and Klink are fantastic. Genuine, honest, funny, they were perfect in honoring both guys.

Their passing was tragic, and the unfortunate fact of the matter is when a show reaches such longevity, it’s almost inevitable that you’ll run into something like that. It comes with the territory of being on for so many years, I suppose.

Indeed, when something like that happens, it only serves to remind you of how far back this all goes, and how quickly it can all go away. By this point, SOG has become a veritable staple of Northeast Ohio television. It’s simply impossible to imagine a time when he’s not on the air in some fashion. But obviously, all good things come to an end, which makes treasuring them while they’re here all the more important. I’ve made that mistake with some other shows, but luckily, I won’t make it here. I’m grateful for each week SOG is on the air.

So, that’s my history with SOG, but it’s not a finished history by any means; it continues to this very day. His current shows, of course I’m there, and just like when I was 11, I still get a sense of anticipation in hearing what movie will be shown on a given night, or seeing if some letter or package I sent in is going to be presented. Stuff like that I don’t think will ever change.


So, my thoughts, and Brett’s up above obviously, on this big 30th anniversary are now known. But, I also reached out online for some other contributions to this big ol’ tribute, to help show what an impact SOG has had on other viewers and collaborators. Some wonderful additions were gathered, which I’d like to share now.

From famous fellow horror host “Wolfman Mac” Kelly (who for years shared Saturday nights with SOG on our local RTV affiliate; SOG 7 PM-9PM, Mac 10 PM-12 AM):

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Son of Ghoul with Wolfman Mac, as they appeared together during an episode of Wolfman Mac’s Chiller Drive-In.

Hey Son Of Ghoul, happy 30th anniversary to you my fellow horror host! You have such an awesome talent and your fans are truly fortunate to have YOU keeping the genre alive. Er…undead…

I had the honor of meeting you a few years ago at Wasteland. You’re not only a great horror host, you’re also a really good guy. All the best to you. Stay Creepy!! – Wolfman Mac

Mac, like SOG, is one of the coolest, nicest guys you could ever hope to talk to, which is not something that can be said for every television personality.

From longtime SOG-friend and genuine good guy Jungle Bob Tuma (check out his official website!) comes this hilarious recollection:

Jungle Bob, longtime buddy of Son of Ghoul and all-around good egg. Photo used with permission.

Jungle Bob, longtime buddy of Son of Ghoul and all-around good egg. Photo used with permission.

I remember the time that the Son of Ghoul & I went out to eat after Cinema Wasteland at an all you can eat Chinese Restaurant (his favorite place to eat). He had been there the week before & ” spoke up” when somebody tried to leave without paying their bill. This made him a hero to the girls who worked there…while we were there, we noticed them smiling, they even brought over a plate of crab legs for him.

He went to go wash his hands & I took my pen & drew a heart & wrote “I love you” on his napkin & when he returned I told him that the Chinese waitress wrote it…I had no idea that SOG would call the waitress over & ask her name & flirt with her…I even tried to stop him but when she came over she let him know that it was not her who wrote that …she also told him that she actually saw me write it while he was away from the table…

He looked at me & said..”OMG Jung, what is wrong with you…I am so embarrassed!” I thought about it & said to myself…”See, we even have fun when we are not on TV…Whether we are on & off the air, Keven (SOG) & I always seem to have a good time & that’s why we have been friends for so long… Happy 30th buddy & looking forward to our next Chinese dinner, LOL.

Anyone that has seen Jung on SOG’s show or watched them interact together in-person knows they have an incredible rapport that is absolutely hilarious, as his story demonstrates!

JB is not only ridiculously friendly, but he knows pretty much everything about every animal ever. You’d be well-advised to book him for any event.

From my buddy Matt Brassfield over at Rotten Ink:

Son of Ghoul with Dayton's Baron Von Porkchop. Photo used with permission.

Son of Ghoul with Dayton’s Baron Von Porkchop. Photo used with permission.

Hometown Horror Hosts mean a lot to viewers, and Cleveland has had their share of iconic hosts from Ghoulardi to Superhost in the golden age of broadcast TV hosting to modern late night ghoulies…but for over 30 years The Son Of Ghoul has entertained viewers with his silly antics and zany sidekicks like the Fidge (R.I.P.) and has truly became a staple for the Cleveland area.

I have had the honor to have met and chatted with Son Of Ghoul many times during his convention appearances and he has always taken the time to shoot the breeze and even was the first to introduce me to footage of Superhost as well as Woodrow The Woodsman! Son Of Ghoul is a Horror Host Hall Of Famer, a Musician, a Comedian and from Rotten Ink as well as from the cast of Baron Von Porkchop’s Terrifying Tales Of The Macabre, we want to wish Son Of Ghoul a Happy 30th Anniversary and wish him many more years of TV goodness.

Matt’s also the producer of Baron Von Porkchop’s Terrifying Tales of the Macabre; check it out!

My Facebook pal John Walch had this photo of SOG with his son Lil’ Kong to share, along with the following comment:

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Photo courtesy John Walch.

The highlight of April’s Cinema Wasteland show was when my son met Kevin. Such a great guy.

Yes he is!

From another Facebook pal, Danny Harasyn:

I live in Lake County and Time Warner won’t give me the station SOG is on …..so I had a friend I worked with who lived in the area Time Warner carried the show record it for me each week…

I know what he means; there was a time in the earlier-2000s in which we were using rabbit ears, and you could NOT pick up SOG’s show to save your life.

From Facebook’s Gary Smith:

Photo courtesy Gary Smith.

Photo courtesy Gary Smith.

Several years ago. it seemed like every week, I would see him at Jamie’s Flea Market in Amherst. On top of that, getting a chance to see and chat with him at Ghoulardifest and Monster Bash conventions the past few years. Looking forward to seeing him again at this year’s fests and congratulations on his 30 year milestone.

Thanks Gary!


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One final personal story before I close this tribute out. This one means as much to me as the nostalgia of discovering and watching SOG back in the late-90s does.

Back in November of 2011, I had a serious hand injury at where I then-worked. This was my first (and thus far only) real injury. Sure, I had sprained my ankle before, pinched a nerve in my neck, relatively little things like that, but this was a biggie. I eventually clocked three separate surgeries, a five-day hospital stay, several weeks of a home IV, and a whole lotta physical therapy. It was a mess.

I was blessed with some legitimately great doctors and nurses that helped me through the ordeal. I am thankful every day for that. Today, while there is some remaining evidence that a severe accident occurred, you probably wouldn’t notice unless I pointed it out to you. It could have been much, much worse, so yes, I’m most definitely grateful to those that made sure it wasn’t.

But anyway, back in December 2011, much of what I eventually had to go through was still ahead of me. All I knew was that I was injured, I was off work until after the new year, and I was severely bummed.

Meanwhile, prior to all that, after being a regular writer-in’r to the show in the late-90s, I had begun sending packages to SOG again in 2010 or so. Shortly before my injury, I had mocked up a SOG-album cover in a parody of Bruce Springsteen’s Born To Run cover, titled Born To Be Awesome. (See above.)

So, Saturday, December 24, 2011, it was SOG’s annual Christmas showing, appropriately airing on Christmas Eve. At a time when I was in critical need of a morale boost, SOG presented the album cover on the air. Not only that, but he really seemed to get a kick out of it! And that was in addition to all the older holiday-themed bits and cartoons, which all made for a wonderfully entertaining episode.

Obviously, SOG didn’t know what I had been going through at the time, this was all business-as-usual for him, but this was absolutely the pick-me-up I needed at that moment. I’ll always be grateful for that.

I think that points to an often-unrecognized aspect of not only The Son of Ghoul Show but any program people may turn to during those times when they just need to escape: they become more than just a television series to us, something deeper, though perhaps indefinable. And when they reach a historic milestone, like SOG has today, you feel, in some small way, a part of it, even if it was just by tuning in for so many years. And by now, I think it’s safe to say I’ll hang in there with him till the very end.

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Your Northeast Ohio Video Hunter hangin’ with the man himself! Ghoulardifest 2013.

There’s no better way to finish this article than with some words from the man himself, Keven Scarpino, aka Son of Ghoul. I reached out to him for a closing comment, and in true SOG-fashion, he first gave me Yeah, I would give a comment if I thought anybody actually reads your posts. LOL” Of course he was kidding (?), and immediately followed that up with this statement, directed towards all his fans:

Thanks for hanging with me all these 30 years. The viewers are the reason I’m still here – plus nobody else is willing to work as cheap as I do. Stay Sick! SOG.

Kinda says it all, doesn’t it?

Happy 30th anniversary Son of Ghoul! Here’s to the next 30!

Mystery Science Theater 3000’s Retro TV Debut This Past Weekend (Also: The Musings Of A Lifelong MSTie On His Early Fandom.)

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*Standby for shameless gushing.*

This past weekend, Mystery Science Theater 3000 made its Retro TV debut. I don’t want to say that all is now right with the world, but there’s little doubt that it’s just a little bit better place to live nevertheless.

I talked about this right after the announcement that MST3K reruns would be returning to TV via the Retro TV network, which in Northeast Ohio, is WAOH TV-29 in Akron, WAX TV-35 in Cleveland (the station formerly known as “The Cat.”) I’ve been counting the days (sometimes literally, sometimes figuratively) to July 5, and now that the “big event” (as I have deemed it) has occurred, well, I’m ecstatic. Lemme ‘splain a bit…

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Mystery Science Theater 3000. The show with the robots and the theater seats and the so much ripping on the bad movies. I could go into more specific details, but for the sake of whatever, let’s condense the summation to this: A guy and his two robots are stuck in outer space and forced to watch terrible movies as part of a mind-monitoring experiment, ostensibly in the hopes of ultimately ruling the world with “the worst movie ever made.”  Their only defense? Mocking (or “riffing”) the movies mercilessly.

Of all the shows I love or have loved, of all the shows I am or was an admitted fanatic of, in my own bizarre little world of personal mythologies, MST3K is and always be the “big one.” So much of what makes me, well, me started with MST3K. If I’m being honest with myself, perhaps not so much my initial fascination with movies or my need to continuously collect more of them; that had begun about a year before I discovered MST3K. But, there is little doubt that MST3K launched that fascination into the stratosphere (figuratively speaking, I mean; using the term in a literal sense would probably mean death or at least serious maiming on my part). After MST3K had the hooks in me, I was never the same.

Mystery Science Theater 3000 first started at a local TV station in Minneapolis in 1988, went national in 1989 on what would eventually become Comedy Central, and moved to the Sci-Fi Channel in 1997, which is where I, at 10/11 years old, came in. Since I had a growing interest in old horror and sci-fi films already, it stands to reason that I was far more familiar with the Sci-Fi Channel than I was Comedy Central. When the initial promos proclaiming the series was moving to the channel began airing, I was already tuned into Sci-Fi. Indeed, prior to those advertisements, I was wholly unfamiliar with MST3K. I may have passed it while channel surfing, but that would have been the extent of my familiarity with the show.

An added bonus following my discovery of MST3K was that I began actively searching out the oddball titles, the weird, forgotten flicks, even films that evoked a certain time period I wasn’t around for (I’m looking at you, downbeat 1970’s movies! Relay my well-wishes to Keenan Wynn!) BUT, that was just a side-effect of MST3K fandom. The real benefit of becoming a fan was that it absolutely introduced me to a world of sharper, funnier comedy. It became (and remains) my first, biggest, and longest-lasting TV obsession.

Readers of this sad blog will no doubt have seen my numerous long, blabbering soliloquies of love posts regarding our Northeast Ohio movie hosts: Ghoulardi, Hoolihan & Big Chuck & Lil’ John, The Ghoul, Son Of Ghoul, Superhost, and so on and so on. The fact of the matter is that my love of them initially began with MST3K, which as previously mentioned isn’t even a local product. I remember Superhost from his waning days on WUAB TV-43, I had caught Big Chuck & Lil’ John a few times before & during 1997 (and I certainly knew them as local personalities from all their local endorsements and whatnot) and I was probably vaguely aware of Ghoulardi, But MST3K was really the genesis of my whole movie-hosting fascination (even if I don’t necessarily consider MST3K quite the same thing, though I’d be hard-pressed to explain why exactly I don’t.) After MST3K, there was a new appreciation for this sort of thing, which in turn lead to fandom for, respectively, Son Of Ghoul and The Ghoul, which continues to this day (and at points has reached the same fevered heights.)

Unlike some, I didn’t quite get hooked on MST3K right away; rather, it was kind of slow burn, a gradually building fandom. Initially, I was more interested in the movies, and the running commentary courtesy of the silhouettes at the bottom of the screen was an amusing bonus. But, the more I watched the show, the more I found myself digging it for more than just the featured movie of a given episode, though in all honesty the movie still did, and does, have a lot to do with how a particular episode “strikes” me (again, figuratively speaking. I’d hate to think of an episode physically punching me in the face!) The first half of the initial Sci-Fi season (in actuality the show’s 8th season on national TV, though finer points such as that were unbeknownst to me at the time) featured black & white films from the Universal library. That was the “slow burn” period of my fandom. Some of the movies I liked (The Deadly Mantis), others left me kinda cold (The Undead).

It wasn’t until the spring/summer of 1997 that things hit the fan for me (figuratively I mean, because…aw forget it, I’m tired of that gag.) It began with the May 31st airing of The Giant Spider Invasion, which I tuned into due to my burgeoning but not-quite-solidified fanaticism. After the initial shock of discovering that they were even allowed to run color movies wore off (remember, I was 11 years old, I had no real prior knowledge of the series, and in general never really knew what the hell I was talking about anyway,) things clicked into place, the stars aligned, and I finally, completely “got it.”

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The next week, MST3K was absolutely appointment television for me. The movie was Parts; The Clonus Horror, and the fire from the previous week turned into a full-out inferno. There was no turning back now. I was hooked, absolutely, and I’ve remained hooked ever since. Was it The Giant Spider Invasion episode or the Parts: The Clonus Horror episode that’s really responsible for turning me into a full-blown MSTie? It could go either way, and I tend to go back and forth. Spider was first, but Clonus had the bigger effect and is the episode that I hold more memories for and really feels more like the first. Plus, I think Parts: The Clonus Horror is a genuinely interesting, though not without faults, film. I guess in the end it doesn’t really matter.

All throughout the rest of summer 1997, I watched Mystery Science Theater 3000 every chance I got, but alas, my ability to actually view the show was temporarily halted. At the time, the Sci-Fi Channel was a premium cable channel. I guess “premium” is the right term for it. You needed the cable box to pick the channel up, anyway. At the end of summer ’97, Dad decided he no longer wanted to pay for said cable box, and considering I was only 11 years old, had little say in the matter. So, out went the cable box, and with it, access to my favorite show. I had a few episodes recorded, I was able to get a far-away Aunt with Sci-Fi-access to tape a few more for me, and several episodes had been released on VHS by Rhino by that point, so I wasn’t completely Bot-deprived, but nevertheless, I had no *ordinary* access to my show, and this, needless to say, troubled me greatly.

Over the next several years, more and more episodes were made available on VHS and later DVD, I discovered the numerous tape-trading sites out in internet land, and even Sci-Fi joined the basic cable line-up, which allowed me to walk over to a much-nearer Aunt’s house to record episodes on Saturday mornings, something I took advantage of until January 31st 2004, when the final MST3K (The Screaming Skull) aired on Sci-Fi and thus TV in general…until now.

So, maybe now you’ve got some understanding as to why I treated the show’s Retro TV debut to something akin to the Super Bowl. I’m sure many people, fellow MSTies included, probably saw it as something neat but not necessary. Not me, though. It wasn’t for lack of MST3K, either; I’ve got a lot of episodes, and I think the majority of the series has been officially released on DVD by this point. Unlike 1997 me, I really have no shortage of the show.

No, my excitement stems from the fact that, frankly, I think a show as great as Mystery Science Theater 3000 needs to be on ‘real’ TV. Pristine DVD copies are terrific, of course, but there’s just something about knowing it’s out there, being broadcast over the airwaves. Furthermore, as mentioned waaaay at the top of this post, our Retro TV affiliate is WAOH/WAX. This is the same station that Son Of Ghoul airs on! After my ability to watch MST3K ended with the summer of ’97, I desperately searched for something like it to fill the void, which eventually lead to my discovering Son Of Ghoul. It wasn’t a “well, I guess it’s good enough” replacement either; SOG provided a somewhat different but nevertheless intensely fanatical, erm, fandom in me that continues to this day. Both shows airing on the same station is something I could have only dreamt of so many years ago, and the fact that it is now happening is, I don’t know, poetic justice? That doesn’t apply here at all, does it? It’s fitting to me, is what I’m tryin’ to say.

Plus, I haven’t been able to watch MST3K over the air in “real time” since 1-31-2004, and not in my own home since that summer of 1997. So, that’s nice.

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Following the initial announcement, my fervor was further stoked with a “coming soon” promo on Retro TV, which began airing soon after. It kept me more excited than any 10-second promo that consisted of a more-or-less static image and some sound bytes has a right to. More importantly, the fact it was airing several months in advance showed (to me, at least) that Retro TV was going to go the extra mile for the show. The commercial for Rifftrax’s live Sharknado only bolstered that feeling; if it weren’t for MST3K’s impending Retro TV arrival, I just couldn’t see that promo airing on the station otherwise.

Further proof that Retro TV was going to treat MST3K as something special was the later announcement that it would be airing twice on the weekends: Saturday at 8 PM EST, with an encore on Sundays at 5 PM EST.

This, however, presented a problem for your Northeast Ohio Video Hunter: Son Of Ghoul airs every Saturday from 7 PM to 9 PM. Usually, whatever was on Retro TV at 9 PM wouldn’t be preempted by local programming, so I figured we’d get at the very least one hour of MST3K before Off Beat Cinema at 10 PM. Prior to the 8 PM announcement, I had been presuming that MST3K wouldn’t be replacing the Saturday Off Beat Cinema, which in turn had replaced Wolfman Mac’s Chiller Drive-In (the normal Sunday Off Beat Cinema has continued before and since.)

Oddly enough, for as fanatic as I can be about this sort of thing, if the last hour of MST3K following SOG was all we Northeast Ohioans were going to get, I actually could have lived with that. I wouldn’t have preferred that situation, but some is better than none. And as it turned out, the un-preempted last hour after SOG is exactly what happened. Something about it just seemed so right for me: The show that MST3K lead me to, followed by the show that lead me to it…or something like that. It’s an entertaining three hours, is what I’m getting at.

Luckily, the Sunday 5 PM encore saved things for me, as that aired complete and uninterrupted. I was seriously concerned that infomercials would take MST3K’s place, but come Sunday, all was well.

The fact that MST3K was coming back to TV, even if only through reruns (running the gamut of the entire national run of the series, seasons 1-10,) was such a source of excitement for me that the actual episode that was premiering became sort of an afterthought…

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Retro TV kicked things off with the third episode of the first season, the 1942 PRC cheapie The Mad Monster. It’s a mega-low budget werewolf film, and needless to say, it ain’t very good (a bad movie on this show?! Go figure!) Here’s the deal with the first season: like any good show, there was a period of groove-finding. That is, it’s a hit-or-miss episode at best. I’m not a big fan of the first season anyway; I mean, sure, I generally like it, but after seeing the heights the show reached in the following seasons, it can be tough to go backwards. Add to that an installment of the Radar Men From The Moon serial they covered, which I’ve traditionally been pretty lukewarm at best on, and well, it’s a case where you’ve really got to look at the bigger picture.

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Keep in mind, I’m not looking a gift horse in the mouth; I understand Retro TV logically has to start at the beginning, and it’s probably better to get these weaker episodes out of the way first rather than throwing them in the middle of a run of strong episodes, and rest assured, the vast majority of the Retro TV line-up is downright killer (the list has been modified a bit since the initial announcement. You can read the current retro TV package courtesy of Satellite News here.)

It’s also easy to forget in this day and age of rampant DVD releases and/or otherwise easy access, that for years the season one episodes were scarce. At a certain point, as per request of The Brains (the affectionate MSTie name for the showrunners) the early episodes just weren’t shown on Comedy Central. Eventually some were ran again, but bottom line is that they were greatly downplayed in comparison to episodes from the rest of the series. SO, the fact that some of them (only two at the moment – The Corpse Vanishes is the next episode coming up before they head, briefly, into season two) are running at all, well, they still have that “hey these are kinda rare!” aura, even if they’re really not anymore. I wasn’t even watching the show during the Comedy Central days, and they still sort of feel that way to me.

My main concern here is that someone that has heard of MST3K and may be familiar with the Rifftrax/Cinematic Titanic projects will tune in, not be impressed, and come away thinking the show is wildly overrated. Give it a few weeks guys! Things get good with season two and great with season three on up! Don’t judge until you’ve seen Pod People!

To the episode’s credit, despite my general feelings toward the season (particularly the earlier half of the season,) I did find myself laughing or at least chuckling more than I expected to. I wouldn’t say any part of the episodes amounts to “home run” status, but if nothing else, it’s enjoyable.

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And there are a few nice bits, host segment-wise. The bit where Tom Servo hits on a food processor is particularly memorable, at least as far as the first season is concerned (it’s also a remake of a skit originally done at KTMA.) The show got much better in following seasons, but there are always moments, always the flashes of brilliance, that made MST3K so, erm, brilliant.

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From previous experience, I knew that our feed of Retro TV isn’t always the clearest. Not compared to the local broadcasting that airs on the channel, and certainly not compared to things broadcast on most other stations, and that holds true for MST3K in Northeast Ohio. It’s really my biggest and only actual complaint about being able to watch my favorite show on ‘real’ TV again. Even then, it’s a fairly minor quibble. That said, when I tuned in following SOG on Saturday night, initially I couldn’t tell if they were even playing MST3K. The quality was so dark (which wasn’t helped by the terrible print of the movie in the first place) that I wasn’t sure until I heard the riffs being thrown at the film. When things are light onscreen, it’s not so bad, but for large stretches of the episode, it was difficult, even impossible, to see the theater seats (see above.)

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Those were my observations at least, and mileage may vary in other markets or even elsewhere in Northeast Ohio. But, at the end of the day, none of that really changes the fact that it feels damn good to see images like the one above playing on my TV screen. Mystery Science Theater 3000 is back on the air, where it should be. And for me, I can watch it on the same station as Son Of Ghoul. You have no idea how beyond cool I find that. Most of the episodes being broadcast feature movies in the public domain, so I hold no illusions of some of my all-time favorites such as Agent For H.A.R.M. or the aforementioned Parts: The Clonus Horror eventually showing up.

But that’s okay. I’ll watch this stuff endlessly no matter what they air, because I love the show just that much. I guess when it comes right down to it, I’m not that far removed from my 11 year old self, watching the show all throughout that summer 17 years ago.

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Gee, that was a swell movie!” Wait, wrong show.