A significant slice of Northeast Ohio history passed on Monday with the death of Chuck Mitchell Schodowski, better known as the "Big Chuck" half of the Hoolihan and Big Chuck Show and the Big Chuck and Lil' John Show. The programs were mainstays on WJW-TV for fifty years, give or take.
If you grew up in the greater Cleveland area—including my own Stark County—in the 1960s through the 1980s, largely before the rise of cable TV, you recognize the seismic impact of Big Chuck. Friday nights were must-see TV long before NBC coined the term. Once the 11 PM news was over and meteorologist Dick Goddard had warned how much lake-effect precipitation other parts of the viewing area could expect, it was time for the opening lines, seared into our collective memories:
Now, from high atop the Television 8 building
In the best location in the nation
On the shores of beautiful Lake Erie—
It's the Big Chuck and Lil' John Show!
Or, if you were just a few years older, it was the Hoolihan and Big Chuck Show, with top billing going to Robert "Hoolihan" Wells, who starred with Schodowski from 1966 to 1979. ("Lil' John" took over when Wells moved to Florida, and the laughs kept coming.)
Here's the opening bit, complete with charmingly cheesy stop-motion animation that relocates King Kong from the Big Apple to the North Coast:
The show followed a predictable pattern. The two hosts would introduce a scary movie and fill the commercial breaks with ad-libbed patter and silly skits. The movies were seldom top-shelf. For every House on Haunted Hill, viewers could count on two or three turkeys like Robot Monster or The Bat.
(It appears turkeys weren't always on the show's menu. A perusal of the Internet Archive reveals they once showed The Exorcist. During a commercial break, Big Chuck held up a copy of Hostage to the Devil by Malachi Martin and began to expound on an allegedly true-life exorcism on the east side of Cleveland, prompting Lil' John to give him a friendly shove and remind him "not to get too heavy and out of character.")
The skits were what made the show. They were often parodies of popular TV programs, and most outlived the original shows by many years: Ben Carson became Ben Crazy, Payton Place birthed Parma Place, and Mary Hartman, Mary Hartman morphed into Mary Hartski, Mary Hartski. Classified under "you probably couldn't do that today" were the "Certain Ethnic" sketches, like the laundromat bit at the top of this page. Big Chuck, Hoolihan, Lil' John, and the occasional guest star from the WJW news team wore many hats in these productions, all of which were punctuated by the distinctive laugh track at the end (a Google search credits Jay Lawrence, a Cleveland disc jockey from the 1960s).
The show had a significant impact on me. I invited friends over on Friday night to watch the show and then sleep over. Both iterations—Hoolihan and Lil' John—were part of Friday night Pepsi and popcorn marathons that included CBS's Wonder Woman and The Incredible Hulk. By the time Dallas rolled around at 10 PM, the second part of the night's festivities—using a cassette recorder to create our own versions of Big Chuck and Lil' John—was well underway. We wrote cue cards, conscripted available voice talents (my parents and little sister), and filmed in such exotic locales as the basement and the bathroom (where a flushing toilet was repeatedly recorded with the microphone dangling over the bowl until my mom yelled at us to stop wasting water).
Honestly, anticipating the show was often as much fun as watching it. It started the Saturday before with the new TV Guide, purchased by my mom at Sparkle Market. Because Big Chuck and Lil' John was a regional show, it was never listed as such in the TV Guide. Instead, readers just had to know that whatever movie was listed in the 11:30 PM Friday slot for Channel 8 was the one. Of course, this was decades before you could look up The Killer Shrews online and find out it was a disaster, so all you had to go by was a one-sentence description and then six days of waiting to see if the movie delivered on that sentence's promise.
I've never been a night owl, so staying awake until 11:30 after a long day of school was often a challenge, even if I took a nap, and making it to the closing credits at 1:30 or 2:00 AM was almost out of the question. Because of this, many of my memories of the show are wrapped in a semi-conscious daze, waking up for some scary parts of the movie or an especially funny Ben Crazy skit. Too often, I'd wake on the floor to the test pattern and realize I'd missed the entire show. Ugh.
At some point, the show's softball team traveled to Alliance to play a charity game against the local firefighters. I was star-struck. It had never occurred to me, a child of rural Washington Township, how close Cleveland was, or that the larger-than-life characters I saw on TV could be real people who would show up a couple miles from my house. I'm not sure I would have been more excited—or dumbfounded—if the entire Star Wars cast had shown up to play ball.
When the family bought its first VHS player—a big, bulky thing that doubled as a doorstop—I recorded a few episodes of Big Chuck and Lil John, but watching it in the day and fast-forwarding through the commercials wasn't the same. It was a "you hadda be there" type of show. And when grade school turned to junior high, I lost most of my interest in Big Chuck and Lil' John, which is probably pretty common, too.
It wasn't until a few years later that I learned how many television markets around the country had their own versions of Big Chuck, Hoolihan, and Lil' John, and how the rise of cable TV and expanded network programming (late-night news programs, especially) sounded the death knell for so many of these low-budget, locally-filmed programs.
Still later, I learned that Schodowski had ties to Ghoulardi, an early Cleveland-based horror host (real name: Ernie Anderson) who carved out his own niche in television history. Schodowski's nickname came from his hitting prowess as part of the Ghoulardi All-Stars softball team, according to the wonderful Turn Blue: The Short Life of Ghoulardi documentary, which covers Big Chuck's significant contributions to that earlier show.
I'm sure many people of a certain age around Northeast Ohio are thinking about those days today, remembering a regional celebrity who left his mark in laughter.
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