The Retroist

As a kid, I was fascinated by the cars in my neighborhood, especially the unusual ones. We had more than a few sports cars that turned heads, and plenty of high-end cars that owners would hand wash carefully. I admired them all, but what really caught my attention were older and what I thought of as unusual automobiles. A great example of this was parked down my street, an early 1970s AMC Gremlin. I was fascinated by its odd shape and by something that was less common in our area, a hatchback. At some point in the late eighties, that Gremlin was replaced by a Ford Taurus and our little part of the world was dimmer for it.

The Gremlin was made by American Motors Corporation, or AMC. This company got its start in 1954 after the merger of Nash and Hudson. AMC did its best to stay relevant in a world dominated by the Big Three automakers. How do you stand up to these Detroit powerhouses? You try to fill niches. That is why on April 1, 1970, they released the Gremlin, a subcompact car with an interesting body, based on the AMC AMX-GT concept car and built on a shortened version of their Hornet platform. This allowed for a mix of small car size and big car traits that people found compelling. Hatchbacks were already popular in Europe but were still seen as unusual in many parts of the United States, especially suburban neighborhoods like mine.

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They made the Gremlin until 1978 and built 671,475 of them. Eight years is not bad for a car, and it is not like it disappeared completely. In 1979, it was replaced by the AMC Spirit, which was essentially a restyled and updated version of the Gremlin built on the same platform.

I think this is all pretty interesting. Just using the name Gremlin, which was a small creature from folklore blamed for mechanical problems, made the vehicle bold enough to be remembered. Do not even get me started on the Gremlin mascot on the gas cap, which I would stare at on the car down the block every time I passed it. Those are both memorable details, but what I find most intriguing about this car happened in 1973, when AMC teamed up with Levi Strauss to release the Blue Denim Gremlin.

By the 1970s, blue jeans had become a staple of youth culture. Denim was the fashionable look that represented casual style and one of the biggest names in denim clothing was Levi Strauss. In 1969, Levi’s started to experiment with other uses for denim beyond their classic 501 jeans. A key part of those jeans was a red tab that said Levi’s on it. To separate their classic styles from new offerings, they began to introduce items with an orange tab. Jackets, new styles of pants, shirts, all now included this new orange marker. But what if you could push the Levi’s brand outside of clothing?

By 1973, Americans were familiar with trends and the appeal of novelty. Levi Strauss and its Orange Tab jeans seemed like a perfect match for AMC. The company was short on cash, but that made them more willing to try creative ways to sell cars. AMC faced ongoing financial struggles due to limited resources compared to the Big Three. That lack of funding often forced them to take risks others would not. They teamed up with Levi’s to offer a truly novel interior option: “seats of the pants.”

This offering, called the Levi’s Custom Interior, aimed to add fashion with a car industry twist. The seats and door trim looked like denim but were actually spun nylon cloth treated to resemble well-worn jeans. This allowed drivers to get the denim look with the added benefit of more durability and flame resistance. The design was led by AMC’s Vince Geraci, who spent time washing real denim from Levi’s to get the proper look. Once that was done, they worked to match the materials.

Extras included detachable map pockets, copper-colored rivets, signature orange stitching, and real Levi’s orange tabs on the seats just like the new jeans rolling off the shelves. The doors got denim panels and removable pockets. On the hood or fender, you could find a red Levi’s badge. That blue denim stood out in a sea of vinyl seats and earth-tone interiors that dominated the market. This interior was just the beginning. Additional trims followed the denim theme. Buyers could add 1971’s sporty X package, which brought bucket seats, bold striping, sport wheels, and a blackout grille to the denim interior.

I have always wondered about the rivets. You can see them on the seats in this image of the interior. In regions that high temperatures, did they get really hot? Did people burn themselves or were they made of a metal that didn’t overheat?

The base Gremlin’s list price was around $2,100, which is about $15,204 in 2025. The Levi’s interior added about $96. For under $100, buyers got a denim-styled cabin. Other options were already available on the Gremlin, including larger engines, automatic transmission, and the X package I mentioned, which cost about $300.

Feedback for the denim look was mixed. As you might guess, some auto reviewers saw it as a gimmick, but others embraced it. I fall into the group that asks, what is not to love? I like that every detail, from copper rivets to denim pockets, was deliberate. It made the interior feel hip, rugged, and casual. It stood out from the bland interiors of other similarly priced cars from that era. Choosing it made a statement about who you were. For a small upgrade, you got something unusual, less generic, and more individual. A fitting option for what would be called the Me Decade, a term coined in the 1970s, reflected a cultural shift toward self-expression and individuality, which the Levi’s Gremlin’s bold interior design fit perfectly.

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AMC offered the denim option from 1973 through the end of Gremlin production in 1978. It later extended to other models, including the Hornet, Pacer, AMX, and even Jeep CJ models in blue and tan denim. It is unclear how much the option contributed to sales, as AMC also made other improvements to the model in 1973 and had a good rating from Consumer Reports. Still, I imagine some of the car’s success that year came from the buzz around the Levi’s partnership. That year, sales went up nearly 30 percent and they sold 122,844 cars.

For AMC, the Levi’s interior did more than dress up a budget car. It reframed a compact hatchback as something with personality. It gave owners a reason to care and buyers a reason to pick an AMC over a Vega or Pinto. It showed that even struggling automakers like AMC could find ways to stand out by taking risks and helped secure the Gremlin’s place in automotive history. Despite jokes about Gremlins, the denim option added cultural value. These cars are rare today, but many collectors recognize their worth and they can bring a premium. A hatchback wrapped in blue jeans may have sounded strange, but it was embracing a symbol of individuality and creativity. It reminded people that cars could have personality, even on a tight budget, and it left a mark that collectors still appreciate today.

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Over the years, I have been slowly trying to cover all of Atari’s console releases. The first one I talked about, the Atari 5200, was way back in 2009. Well, I am happy to announce that I have finally covered all of the released consoles now with this podcast about the Atari XEGS.

This console was interesting in that it combined a computer and gaming console in an attractive and cohesive packages. Unfortunately for Atari, releasing it in 1987, was just too little too late. And while there was some initial enthusiasm for the system, it quickly faded, buried under the efforts of Nintendo and to a lesser extent Sega. Still, while it might have failed, it was an interesting effort and worth discussing.

On today’s show, I talk all about the Atari XEGS. Discussing its designer, the company who made it, its reception, release, and much more. This being an Atari release, I found some great retro audio to include that I hope you enjoy.

Many consoles have been released that didn’t set the world on fire. That doesn’t mean they should be forgotten. Atari was trying something that certainly had been attempted before, but I think you could argue that they did it best up to this point.

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• This is the 344th episode of the Retroist Podcast and episode 19 of the new season.

• I got to spend some quality time with an XEGS around 2015 and I was really smitten. Something about its design really won me over. Sad I didn’t pick one up when they first came out. I could have made some nice memories on this machine.

• Some fun retro audio in this one, but I wanted to include even more. Atari might not have had a big advertising budget for the system, but they did some nice stuff.

• I originally had a section about their advertising and budget, but I butchered it and it was awkward, so I cut it out.

• I had some cuts about people who worked at Atari and more about Commodore. Edited out close to 90 seconds by removing it.

• The XEGS has become collectible, but not as much I would have thought. I just don’t think enough people know about it or more likely didn’t build up enough memories to want to collect the system. Still, there are some people out there.

• I had pre-recorded some episodes in anticipation of some issues with my jaw. This is a newer episode and I think that it sounds okay.

• If you had and XEGS, I would like to know why you got one and what you thought about it.

• Bonus Clipping should be up at the same time the episode comes out and see if people prefer it that way.

• Music on the show is, as always, by Peachy.

Thanks for listening to the show and I hope you have a great weekend.

The Retroist is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

The first concerts I went to were not by choice. My family was into music, rock music, and they thought it would be good to expose me to the music they loved. So by the time I was a teenager, I had been to more Bruce Springsteen concerts than most and had covered my ears during a good number of what are now classic rock legends. Then, like a lot of teenagers, I started seeing acts that I wanted to see. This pattern continued into my early twenties. After that, I would still go see live music, but the frequency dropped.

Nowadays, the idea of going to a live show feels like a challenge. But I am trying to overcome that momentum and make more of an effort to see live music, especially the music of my youth. I am doing this for a few reasons.

1. While some of these acts might be going through the motions, most are still passionate musicians who put on a strong show.

2. There is something about hearing a song you’ve known for decades played live that connects you to a younger version of yourself in a way nothing else quite does.

3. It might not rival the high-budget, top-tier acts that have dominated recent summers in terms of spectacle, but with smaller and more accessible venues, these shows can be more rewarding in other ways. For example, smaller shows also often attract longtime fans, which creates a shared sense of connection that you don't always find in huge venues.

4. The price is right, at least for some. While ticket prices for mega-acts are soaring, small venues around the world still host musicians you can see for tens of dollars instead of hundreds.

5. Support what you love. At some point in the eighties, I got my own copy of DEVO’s first album. I probably paid between five and seven dollars for it and have listened to it hundreds of times. The joy they have brought me makes me want to support them, and going to a concert is a great way to do that directly.

I am sure other people can come up with a dozen more reasons, but this is enough for me. Yes, you should continue to discover and appreciate new music and go see those artists. But if you’re not finding new music you like, go to a concert anyway. Live music has changed, but so have we. What matters most isn't always the biggest show or the newest act. Sometimes it's about reconnecting with something that still matters to you. If you haven't been to a show in a while, give it a shot. You might leave with more than you expected.

Share Your Retro Finds

(If you have retro finds you would like for me to share, I want to hear them. What old useful website are still lurking on the web? Some old TV show streaming online? Old tech being brought back? Let me know.)

ONE COOL VIDEO

I wrote this post after seeing a beloved band of mine, Orchestral Manoeuvres in the Dark, play a live show in Seattle. They sounded great and put on an amazing show. Someone uploaded them performing their song, "Electricity" (one of my favorite). It was the final song of the evening and a great way to end the show. If they are coming to you area, don’t hesitate to see them. Next month, D-E-V-O!

TEN THINGS RETRO

🧸 Toys - In 1960, Mattel decided to promote their newly-released Barbie doll fashions, using another one of their toys, View-Masters. The reels for these in store only display items are hard to find and a fun part of toy history.

📺 TV - King of the Hill premiered in 1997 and ran for 259 episodes. While we lost way too many of the talented actors who voiced the characters on the show over the years, we will are finally getting a brand new season of this beloved show on Hulu starting August 4th.

💿 MiniDisc - While its revival hasn’t caught fire in the way vinyl or even cassettes have, interest in the MiniDisc format is out there. It was a format that was ahead of its time, but how did it work? Obsolete Sony has the skinny on this remarkable, but sadly defunct format.

🌧️ Weather - I have mentioned WeatherStar 4000+ before, but it still continues to amaze me. Just plug in your zip code or location and get a retro Weather Channel experience complete with relaxing jazzy music. I would love an app version of it for the Roku or Android TV.

🖖 Star Trek - Jean-Luc Picard was a well-rounded and very well-read starship captain. In his ready room you can clearly see in a glass case, a copy of The Annotated Shakespeare, Vol. 1 that is open to pages 354-355. Why is this a big deal? Well on that that page is a photo of some random actor named Patrick Stewart. Which means the actor and the character exist in the same universe!

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👀 Dungeons & Dragons - Have you ever looked at your Mr. Potato Head and thought he would make a great Beholder? I didn’t either, but WizKids has done a great job of turning a mini spud into a potentially sorta friendly-looking eye tyrant. Pre-order your own today.

🐺 Video Games - Could Altered Beast finally be getting the sequel it deserves? A fan of the game is working on it and has released some test footage of the game running on the Scorpion Engine.

🚗 Movies - OutRun was a great SEGA video game from 1986, but will it make a great movie 40 years later? Michael Bay is set to produce and direct an adaptation of the it at Universal Pictures.

🕹️ Digital Photos - The Atari 2600 (VCS) might not be the perfect format for displaying photos, but the images it can display are certainly charming. That is why its really fun that Nick Bild has made an Atari 2600 picture frame powered by a Raspberry Pi Pico in a custom cartridge.

📺 TV - We lost George Wendt recently. After his passing, people began sharing videos of his work. One that really caught my attentions was his appearance on the very first episode of Late Night with Conan O’Brian where he leg-wrestled John Goodman. The results were inconclusive, but it made for good television.

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FEATURED RETRO COUPON

Pop-Tarts were just four-years-old when this coupon was printed in 1968. I love the color, the font choices, and of course, the image of the Pop-Tart packaging. Not only do we see a lack of frosting, but we also see some flavors that no longer exist, including Concord Grape. Which I would have loved to try. My favorite flavor is pictured here, Blueberry.

SUBSTACK RECOMMENDATION

Video game books are genre of books tied to another media and while some of them might get wide release, they are often viewed as ephemera. Once the game is gone, the books published around them are easily forgotten. The Video Game Library is an incredible website that is saving, archiving and sharing books related to video games. To keep everyone interested in their work updated, they have added a Substack and everything they send out is packed with great information.

FROM THE RETROIST ARCHIVE

Let's take a moment to look back at four posts from the Retroist's past. I have been at this a long time.

One Year Ago…

🐲 Advanced Dungeons & Dragons: First Quest – The Music

Five Years Ago…

🍔 McDonald’s Happy Meal Playmobil Toys

Ten Years Ago…

♟️ Mattel Electronics Computer Chess

Fifteen Years Ago…

🦈 Retroist Jaws Podcast

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Like many kids, I loved comic books. It all started one day when my mom came home from the store with two Captain America comics. From that point on I was a regular comic reader, and more specifically, I became a reader of Marvel Comics. My family was very aware of my hobby. They took me to comic book stores, helped me get organized when I tried to start a comic book club at school, and were generally very supportive. Since they were so aware of my passion, it was no surprise when my mom called me into the living room to see something on TV. Spider-Man was going to get married!

Now, I already knew Spider-Man was going to get married. It was a famous storyline from 1987. Peter Parker (Spider-Man) proposed to Mary Jane Watson in The Amazing Spider-Man #290. She accepted two issues later, and the wedding took place in The Amazing Spider-Man Annual #21. But this wasn’t about the comic book wedding. This was a real-life event staged between two fictional characters. This wild swing makes sense, at the time, Marvel was experimenting with ways to expand their characters into mainstream pop culture, and this wedding was part of a broader promotional strategy.

Before getting into the event itself, let me rewind a bit and talk more about the engagement and wedding in the comics. The idea came from Stan Lee, but the actual implementation was handled by then Marvel Editor-in-Chief Jim Shooter. The final book script was written by David Michelinie, who, after Stan Lee, had the longest run as a writer on The Amazing Spider-Man. He knew the character well, having guided him through the 1980s. He also didn’t like the idea. In Spider-Man The Icon: The Life and Times of a Pop Culture Phenomenon, he is quoted as saying, "I didn't think they actually should [have gotten] married. I had actually planned another version, one that wasn't used."

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Internally, the idea didn’t seem very popular, but the story was written and the books were headed to press. The storyline also ran in the Spider-Man newspaper comic strip, which was written by Stan Lee. Interestingly, even though Marvel later went to great lengths to erase Spider-Man’s marriage from the comics with the controversial 2007 storyline One More Day, in the strip they remained married. Just as Stan intended. While I already knew the wedding was happening in the comics, I didn’t expect to see it show up in the real world. That changed one late afternoon.

So picture this. It’s 1987 and I am probably either reading comics or working on something related to Dungeons & Dragons at the kitchen table when I hear my mom calling me to come see something on TV. What I saw was a brief announcement at the end of the news. A wedding would be held at Shea Stadium, where the New York Mets play baseball. It wasn’t enough information, so I started checking the newspaper over the next few days to learn more. My grandmother actually found the details the day before the event.

According to the paper, in addition to the comic book storyline, a live-action wedding featuring actors would be held at 7:15 p.m., followed by a party at the New York nightclub Tunnel at 10 p.m. The night would end with a cake cutting at midnight. After that, I assume a vast assemblage of Marvel’s mightiest would dance the night away, while MJ and Spidey head to the Riviera on their honeymoon.

Just as a side note, much later I found this ad for Creepshow 2. It was published a few weeks before the event. It turns out it, I was looking for details about the wedding in the wrong place! While this advertising might seem a little random now, it makes some sense. New World Pictures, which was making the film, was at the time the parent company of Marvel.

For the event, Spider-Man was played by Jerry Colpitts and Mary Jane by Tara Shannon. Stan Lee himself would officiate the wedding, and Mary Jane’s dress was designed by Willi Smith. Sadly, Smith had passed away just two months earlier from AIDS-related pneumonia. The dress, described as a “lacy white confection,” was said to reflect the energy and wit of the late designer. Smith was a rising star in fashion, known for blending streetwear with high design. His involvement, even posthumously, gave the event an unexpected layer of long-term cultural relevance outside of comics.

Learning the full details just a day before the ceremony was frustrating. With more notice, maybe I could have attended this solemn event. Since that was no longer an option, I wanted to at least watch it on TV. I checked local station WWOR, hoping they would show the ceremony before the Mets game, but the game didn’t start until 7:30. That was fifteen minutes after the wedding.

Fortunately, Marvel’s marketing team, especially Pamela Rutt, who was Marvel’s director of publicity at the time, knew what they were doing. Footage from the event aired on several local news broadcasts. Even better, Good Morning America did a pre-wedding interview and Entertainment Tonight showed the wedding itself.

The interview, with Spencer Christian behind the desk, aired the night before the event, is fun. Stan and the two actors answer silly questions in character. The oddest moment is when Mary Jane is asked why she chose Peter Parker and replies, “It’s all that webbing and what he can do with them that won my heart.” What? They then go on to answer questions about raising super-powered children, and Stan’s earpiece even falls out during the segment.

After the wedding, Entertainment Tonight ran a segment introduced by John Tesh. While the costumes may look dated now, at the time I thought they were perfect. Not only do Spider-Man and Mary Jane look great, but Captain America and the Hulk are also visible. Unfortunately, we don’t get to see the other guests, who I later learned included Iceman, Firestar, and the Green Goblin. The ceremony is pun-filled and weird, and it’s worth tracking down clips if you’ve never seen it.

The event drew mixed reactions from fans. Some saw it as a fun bit of theater, while others viewed it as a publicity stunt that didn’t reflect the tone of the comics. I fell into the former group. I wasn’t sure about the wedding and if it was needed, but it seemed new and different, just like this event.

It turned out to be a good night for Mets fans too. Spider-Man’s appearance not only boosted attendance, but maybe even brought a little Marvel magic. The Mets beat the Pirates 5-1, with a solid performance from pitcher Dwight Gooden and closing help from Jesse Orosco. Fans were given a commemorative poster featuring Marvel characters and key Mets players, along with a plastic bag showing Spider-Man in full costume, wearing a top hat and catching a baseball. What a night!

Why the Mets? The Mets were on top of the world after the World Series winning 1986 season, but they also had something in common with Peter Parker, they are both from the borough of Queens. In the comic Spider-Man is shown to be a Mets fan, my favorite is when he wears his Mets cap over his costume.

There is actually some more depth to his fandom. In Peter Parker: Spider-Man #33 we learn that on the anniversary of his Uncle Ben Parker's tragic death, Peter goes to a Mets game. It was the team his Uncle loved, and he tried to install a sense of fandom in his young nephew. Peter might not have been a very athletic kid, but he got his love of baseball from the shared experience. So if Spider-Man needed to get married at a ballpark, and apparently he needed to, the home of the Mets makes the most sense.

Events like this don’t happen much anymore. Studios and publishers are more cautious and tightly scripted in how they promote their characters. But back then, Marvel was willing to try strange and theatrical things to connect with fans. For a kid like me, it was unforgettable. Even if I didn’t get to be there, I saw enough to know it was real. And for a moment, comic books weren’t just stories. They were happening in the world around us.

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Arcades in the early half the 80s had a constant flow of new machines. Some were food, you would play them a few times and forget about the, but other’s attracted a crowd. Robotron 2084 attracted a crowd. I can still remember trying to catch glimpse of the screen while adult after adult kept playing the game. Eventually I made my way to the screen and put my quarter in. The experience was intense, but I was hooked.

On this episode of the Retroist Podcast, I am going to discuss this arcade classic. I start off talking about what an incredible workout the game could be before moving onto the game itself. Then I go over the games evolution, the company and people who made it, its reception, scoring, the world record, and much more.

The thing about Robotron that makes it so good is that it's a lot of fun when you start out and you're just shooting everywhere. But the game is at its best when it is completely out of control. When you do not expect to survive, and you sometimes do. So the challenge of making this game is to funnel and control the chaos, giving the player of the game just amount of agency to win. But it's always a tightrope that they're walking. And they do it so well with colorful graphics, amazing sound, wonderful level design in a great package. So if you haven't played Robotron in a while, never played it before, go find a way to do so. It's one of the great games of the early 80s, and it's worth your time.

You can support the Retroist by joining my Patreon. Supporters will get member-only shows and audio extras associated with the show. Click the giant button below to check out the Patreon Page.

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If you have a moment, please stop by Apple Podcasts or wherever you might download the show and perhaps give the show a quick rating. It is very much appreciated.

Maybe I will release this Podcast on Cassette? Join Patreon for a chance to get a mixtape.

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• This is the 343rd episode of the Retroist Podcast and episode 18 of the new season.

• Here is the promotional video they did the game. It is something.

• This podcast was supposed to come out last month and I didn’t plan on releasing it back to back with Golden Axe, but here I am going just that.

• I had a section where I talked about a kid who tore open and arcade version of Robotron by the joysticks. It was going to be my story, but opted for another one.

• Try playing the game 2 player with one person shooting and the other controlling movement. Its wild.

• Had about 90 seconds more about the creators and a minute more about the companies. Cut that all down.

• Not much self-contained retro audio for this one, so I needed to feature some other robots. I hope you like my choices.

• I got to play Robotron 2084 on a recent arcade outing in NJ. It had been a while and while I did better than I usually do, the high scores at this arcade, Billy’s Midway were out of this world.

• I did mention the world record. I don’t often do that because it changes and I don’t want to have to go back and edit it. Still, I always want to include it and I decided to do it. I cut out 15 seconds of me explaining that decision.

• Maker sure you play this game with the sound on, it adds a lot to the game.

• Bonus Clipping should be up at the same time the episode comes out and see if people prefer it that way.

• Music on the show is, as always, by Peachy.

Thanks for listening to the show and I hope you have a great weekend.

Thanks for reading The Retroist! Subscribe for free to receive new posts and support my work.

On the May 2025 Monthly Update I talk about what's been going on with the site and podcast, but also some other things going on in my life and some random thoughts I have. They include:

• White Lines and Cavern

• A 1985 Diet Coke Commercial that had so much

• The Almost He-Man Riot of 1985

• Valley Girl

• Golden Axe

• *batteries not included

• The NY Times Spelling Bee and …

In the late 1980s, a new multiplayer beat-em-up hit arcades, Golden Axe. It took what other games had done and added new depth to combat, a healthy dose of magic, and wrapped it all in Conan-style sword & sorcery. It wasn’t just a hit with me and my friends, but an international success that spawned multiple ports and sequels, each adding something to the franchise and the brawler genre as whole.

I loved playing this game in the arcade, but one of my best memories of it was wrapped up in the Sega Genesis version. So I start the show discussing how a game rental turned into the last all-night game sessions I ever had with a childhood friend. Then I move onto the game itself. I talk about the company and people who made it, its release, reception, and technology. While I might not be a Golden Axe master, I have played it through several times, so I also share some of my strategies for the game.

Golden Axe remains significant for its role in shaping the beat 'em up genre. So significant that it looks like we might be getting a TV show based on it. One can hope that this will lead to future sequels or reimaginations of the original. And why not? With its blend of action, fantasy, and cooperative play, it helped set a new standard and one of its sequels was arguably even better. This is an important title in the history of video games, so I hope you give the show a listen and then go check out the game for yourself. If you can bring a friend, the experience will be all the better.

You can support the Retroist by joining my Patreon. Supporters will get member-only shows and audio extras associated with the show. Click the giant button below to check out the Patreon Page.

Support the Retroist on Patreon

If you have a moment, please stop by Apple Podcasts or wherever you might download the show and perhaps give the show a quick rating. It is very much appreciated.

Maybe I will release this Podcast on Cassette? Join Patreon for a chance to get a mixtape.

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• This is the 342nd episode of the Retroist Podcast and episode 17 of the new season.

• While I might like the Genesis version of the game, whenever I emulate it, I still prefer the arcade version.

• I think it all the time, but not sure I have ever said it, but video games can use more dwarves.

• Maker sure you play this game with the sound on, it adds a lot to the game.

• If you clear the original, jump straight to Revenge of Death Adder.

• I no longer buy game consoles, but if Sega got back into the mix, I would consider it.

• No bonus clippings for this episode, I did try to find some local flavor, but they just weren’t covering the game in a significant enough way to anchor a segment.

• Music on the show is, as always, by Peachy.

Thanks for listening to the show and I hope you have a great weekend.

Thanks for reading The Retroist! Subscribe for free to receive new posts and support my work.

Created in 1981, the Masters of the Universe toy line was developed by Mattel. They developed the toy line after turning down a license for Star Wars figures. Hoping to create their own original property, they blended sword-and-sorcery elements with science fiction, leading to the unique mix that defined the franchise. The first 5½-inch action figures hit stores in 1982. He-Man, Skeletor, Man-At-Arms, Beast Man, and Battle Cat gave kids everything they needed for action-packed play. The toy line quickly expanded. Supported by a strong marketing push that included live appearances, comic books, an animated series, and more, Masters of the Universe became a major hit.

I watched the cartoon regularly and collected some of the toys. A little before this, I had gone all-in on G.I. Joe figures, so splitting my attention between the two was difficult. Still, the fantasy elements appealed to the Dungeons & Dragons player in me. So I picked up the first wave of figures.

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In early 1983, just after the Christmas that brought more figures to that first release, I started to see mentions of live appearances by He-Man and the rest of the group at toy stores and malls in my area. These live appearances were becoming more common as toy companies realized the value of face-to-face marketing. Similar events for Transformers and G.I. Joe would also draw large crowds in the mid-80s.

Always an easy mark for sold marketing, these were something I was very interested in, especially for Star Wars, and I had missed out. Not wanting that to happened again, I made more of an effort this time to get my mom to take me. Sadly, it never worked out.

I checked the paper often, hoping to find any mention of them in my area. Over the next year or so, a few events came and went. The ads usually looked the same. I remember them well. I would not only tell my mom about the event and ask her to take me, I would cut out the ad and stick it on the fridge. Then I would count down to the day. Each morning brought a new chance to ask again.

Each time, she said no. When I pressed her with the usual kid questions, she said the events were too crowded and it would be hard to get close to the characters. At the time, I thought she just did not want to go. But later, I realized she was probably right.

In 1985, in Abilene, Texas, local TV station KTXS was airing the He-Man and the Masters of the Universe cartoon. They thought the show was underperforming and decided to take it off the schedule. That decision turned out to be a mistake. They underestimated how many kids were watching. After they made the their decision, phone calls, a signed petition and letters started pouring in, asking them to bring the show back. This effort was led by two irate moms, Rixie Hults and Tammy Shipley.

Amazing, because of their efforts, the station not only decided to resume airing it, they saw an opportunity to use the response to promote both the show, and honor the actions of those who saved it. They would receive a plaque and the station would donate VHS copies of all 130 existing episodes of the show to the city library. That way, the city would never be without their beloved He-Man again. It looked like the forces of good had triumphed, but Skeletor still had some tricks up his sleeve.

That November, on a windy Saturday, they held an event at the local fairgrounds where Hults and Shipley would receive their recognition, but also kids could meet He-Man in person. Originally, he was supposed to arrive in a hot air balloon. I had never seen He-Man use a balloon in the cartoon, but maybe Battle Cat was booked somewhere else. Sadly, they had to cancel the balloon because of the wind. Gusts were hitting 40 miles per hour.

Something more powerful than the wind was gathering that day, and that was the crowd. The fans were not unruly when the even started, beyond the usual energy of a large group of children. There were just far more of them than expected and it seemed something had to give. The station thought maybe 1,500 people would show up. Instead, around 8,000 did. They could not wait to see the muscle-bound hero in person.

There are times at events when something shifts. You can sense it. It becomes clear that not everyone will get what they came for. That happened here. The mood changed. According to an Associated Press article from the time, station owner S.M. Moore Jr. said, "Children were getting lost from their parents. People were pushing and shoving. Kids started tearing down decorations."

The event was canceled shortly after it began. He-Man was rushed away and the station was left trying to smooth things over. They bought 10,000 posters from Mattel and tried to distribute them to disappointed fans. But that was little comfort to many of the families who had waited in the wind.

Barbara Blythe, whose six-year-old son had hoped to see He-Man for his birthday, said, "Seeing He-Man was all Rowdy wanted for his birthday." I am sure that a poster was not much of a substitute for the real thing.

Not everyone saw it as a failure. Mattel was impressed by the turnout. Their marketing director said, "Abilene’s the most enthusiastic reception we have ever seen."

Looking back, it is easy to see that this was about more than just a toy line or a cartoon. Kids were deeply connected to these characters. They were heroes in plastic form that captured our imagination. The crowd that gathered in Abilene may not have met He-Man that day, but they showed the power (and possible rage) of childhood fandom. Its an interesting footnote in the history of the franchise with the the excitement of the show, the disappointment in its cancellation, the saving of it, and the effort to make it right all becoming part of the story. While I never got to see He-Man in person, I still remember those fridge-clipped ads. They were small promises of something magical. Maybe that’s what made the toy line so powerful. It gave you something to hope for. Its also why I probably would have been a bit angry had on been on the fairground in Texas that day.

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Batteries Not Included (or *batteries not included) did okay at the box office against some stiff competition. It is a movie that feels small on purpose and a lot of care is put into fleshing out the world. Yet, the film is filled with ideas and implications that are very large. So when the movie is done, you cannot help but think about it.

That is why I…

The mid-eighties were a fun time for cola marketing. Pepsi was bringing celebrities to the party and calling themselves the choice of a new generation. Meanwhile, Coke was trying to recover from the New Coke debacle and was spending heavily on marketing with numerous properties and personalities. After the New Coke backlash, Coke seemed to double down on using familiar pop culture faces to stay relevant. This resulted in a series of Diet Coke ads that brought together an interesting, and sometimes strange, mix of celebrities. There were ads with DEVO and Andy Warhol, Walter Payton and Ray Parker Jr., Chuck Berry and Martin Mull, and more. My favorite, though, was the one that featured the great "Weird Al" Yankovic wearing a Michael Jackson outfit while singing the praises of everyone’s favorite diet soda.

Throughout the history of music parody artists rarely broke into the mainstream, Al’s wide appeal made him an unexpected but effective brand partner. Now, I consider Weird Al the star of the commercial, but he is not the first to appear. That honor goes to the singer Kim Carnes. This was a big year for her. Earlier in the year, she was on the Billboard Hot 100 with three singles at the same time. These included the songs "What About Me," "Make No Mistake, He's Mine," and "Invitation to Dance" from the soundtrack to That's Dancing. It was a fun chart moment where she appeared as a solo artist, and as part of both a duo and a trio. That kind of run made her a big deal, which is why Coca-Cola hired her to appear in some ads on her own.

After the intro by Kim, Al appears just as they announce the name of the product. The shot is from a distance and he is wearing Michael Jackson’s iconic red leather jacket. He does a convincing dance move, then spins around to reveal himself as a visual punchline. You thought you were getting MJ, but instead, wink wink, it’s Weird Al.

Modern audiences watching this might just see it as a fun reference to Al’s hit parody of “Beat It,” called “Eat It.” Both songs were huge and widely known at the time, but there was even more going on. A year earlier, Jackson had signed a major deal to appear in Pepsi commercials. He had made headlines for being in their ads, but he also made even bigger headlines after a pyrotechnic accident during a shoot at the Shrine Auditorium in Los Angeles. Jackson was badly burned. For a month, it was on the news constantly. It was a terrible event, but also a flood of free publicity for both Jackson and Pepsi.

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Modern viewers might just see Al in a red jacket and think of “Eat It” and leave it at that. But the full context adds something more. The strong connection between Jackson and Pepsi made Al’s parody-style appearance in a Coke ad a well-placed move.

Carnes and Weird Al are not the only celebrities we see. After a quick sequence that includes a woman lounging in a pool being spied on by a periscope, some young people playing hacky sack, and a Diet Coke branded one-man band in a straw hat (who I thought was Richard Simmons for a long time), we get a smiling man dancing while holding his waistband. You might not recognize him, but this is award-winning character actor James Coco.

Coco had struggled with his weight for years and often spoke about his failed attempts to keep it off. In the eighties, he finally found success and documented the process in his best-selling book The James Coco Diet. I think he was added a nod to an older audience. As a kid watching this, I might have recognized his face from TV, but older people would have known him by name.

The weight loss, combined with the book and his many appearances on talk shows and in the news at the time, made him an ideal person to promote a diet soda. Just seeing him dance with his now loose pants sends a message that you might lose weight too, if only you drink Diet Coke. Sadly, he died not long after the ad aired, passing away in 1987 at the age of 56.

After Coco, we get another quick sequence. A group of people enjoying Diet Coke, including a non-Michael Jackson Weird Al eating pizza, a guy on a unicycle, two college kids near a Coke machine, James Coco drinking from a glass bottle, and finally, the Ghostbusters logo ghost.

The Ghostbusters ghost, also called the icon ghost, is the one in the crossed-out symbol. Nicknamed Mooglie by Ivan Reitman and Dan Aykroyd, though never officially called that, it only shows up in the logo during the films. It got a bit more action in the animated series The Real Ghostbusters, the cereal commercial, and a few other places.

As a fan of the movie, I was excited to see the ghost appear. It felt special and it was fun to see him animated. The movie had been a huge hit the year before. The real reason the ghost showed up, though, is corporate synergy. Coca-Cola owned the studio behind Ghostbusters, Columbia Pictures. It’s a small moment, but it shows how much effort Coke was putting into connecting every pop culture dot they could.

This 30-second ad packed in more cultural references than most movies. Both Coke and Pepsi were looking to to grab attention with celebrities, but while Pepsi focused on single-star advertising, Coke embraced a more MTV-style quick cut format. Which I think worked really well for the time. From Kim Carnes to Weird Al to the Ghostbusters ghost, it was Coke’s way of showing they still had pop culture power. If you are watching this for the first time today, it might look like just a fun time capsule of the mid-eighties, but back then, the references were a lot more meaningful.

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