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This is 99% Invisible. I'm Roman Mars. Say kids, what time is it? It's high!
If your parents or grandparents grew up in the United States in the 1950s, there's a decent chance that you have heard them sing this song. And if you're the right age, you can probably sing it yourself. In fact, if you're a boomer, it might be stuck in your head right now. In which case, I'm sorry. It's time to start the show. So kids, let's play!
For those who don't know, this nearly atonal chanting is the theme song to one of the very first children's television programs, the Howdy Doody Show.
That's reporter and longtime 99PI contributor David Weinberg. The Howdy Doody Show is one of those pieces of 1950s ephemera, like the hula hoop, that has come to symbolize mid-century American childhood. For over a decade, every weeknight at 5 p.m., kids all across the country would sit down in front of their parents' tiny television and take in the Wild West adventures of Buffalo Bob and his marionette puppet sidekick,
Howdy doody.
At the time, there wasn't anything quite like it. Imagine a singing cowboy performing a puppet show for your birthday, only five nights a week. And now imagine nearly every other kid in America enjoying the same party at the same time. For a lot of children, it was their first encounter with the concept of a TV star. Which is why Bert Dubrow can remember exactly where he was when he first heard the rumor.
I was out on a playground in fifth or sixth grade, Trinity School in New Rochelle, New York. And some kid said that Buffalo Bob bought a liquor store in New Rochelle. Now, that would be like saying Mr. Rogers owned a liquor store. It didn't make any sense.
This happened back around 1960. And at the time, Burt loved all things TV, especially live TV, and especially Howdy Doody. So when he heard this rumor that the show's host, Buffalo Bob, was selling liquor in New Rochelle, he couldn't stop thinking about it. And I literally found the route from the south end to the north end, and I did not tell my parents. And I got on the M bus and, uh...
I got off and those big signs said, "Liquors." Ten years old, I walked into the liquor store. My chin came up to the counter. And I said, "Excuse me, is Buffalo Bob here?" And there was a man behind the counter who was wearing a Czech shirt, black horn-rimmed glasses, and said, "I'm Buffalo Bob." Well, that made no sense to me because he didn't look like Buffalo Bob. He didn't, at that second, sound like Buffalo Bob.
And he reached down below the counter and he pulled out a color picture, that one right over there in the red frame, and signed it to me. And as he was talking, he started to sound like Buffalo Bob. That's when Bert realized that this was really happening. He was standing in front of his hero, the actual living, breathing Buffalo Bob selling liquor. So now I went home. My parents were ready to kill me. Where were you?
So I was at Buffalo Bob's liquor store. Well, they thought I was smoking something. But every day, or many days after that, I went. It reached a point that the people that worked for Bob at the liquor store, if they saw me coming through the big glass windows, Bob would run in the back so he didn't have to see me.
Burt Dubrow was not wrong to be starstruck. It's hard to overstate just how massive a cultural juggernaut Howdy Doody was. The show was disproportionately important to the history of television. It was the first television program to reach 1,000 episodes, one of the first shows to be broadcast in color, and it pioneered new ways of marketing products to children. All of which, while I was talking to Burt, begged the question,
Well, I was doing the show on Saturday mornings and then running the liquor store the rest of the week. That's crazy. It made sense for him to buy the liquor store. Let's just say that. It was an investment. If it seems strange that the star of one of the most successful programs on television needed a side hustle, well, today it would be. But in the early days of the medium, especially when Howdy Doody first started, the world of television was strange. It
It was a place where no one knew what anything or anyone was worth, not even Buffalo Bob. And honestly, the fact that he ran a liquor store isn't even the strangest part.
In many ways, the story of Howdy Doody is the story of the weird Wild West days of early TV. A story in which programmers, advertisers, artists, and money men were inventing everything as they went along. Starting with what to put on television in the first place.
After all, the very first TV shows, including Howdy Doody, had no prior TV shows to build on. Instead, they had to steal their programming ideas from other older mediums, including the greatest medium of all. Well, it really, you know, Howdy Doody was born on the radio.
This is music historian Stephen Davis being interviewed by Terry Gross in 1987. His dad worked on Howdy Doody, and he says that Buffalo Bob Smith got his name from his hometown of Buffalo, New York.
And his life in entertainment started early. By the time he was four years old, Bob could recreate any melody he heard by plinking away on a piano with his two tiny fingers. And by the time he was in his 30s, he was a popular radio DJ. He hosted his shows sitting at a piano, where he would sing along to records, perform comedy sketches, and read the weather.
And originally, his sidekick's name was not Howdy Doody. Howdy's original name was Elmer, and he appeared on a Saturday morning quiz show that Buffalo Bob did in those days on the NBC radio network. On the show, Bob developed the persona of Buffalo Bob, but he also voiced other characters, including Elmer, who back then was a kind of country bumpkin.
And he had this really dumb kind of yokel voice, which kept saying, howdy doody, boys and girls. That was what the Elmer voice sounded like, kind of a rube, a cowboy, you know, somebody from the frontier, a rough dude, so to speak. And eventually, that became his name, Howdy Doody.
And in a slightly alternate universe, Howdy would have disappeared from cultural memory when Bob's radio program went off the air. But mass media, and Buffalo Bob's show in particular, were about to undergo a huge change, thanks to the failure of television.
After the first television sets became commercially available in the 30s, for a long time, well into the 40s, the medium actually had a hard time catching on. For starters, unlike radio, which had a huge variety of shows, there wasn't much to watch on these small, grainy, black-and-white screens. So in the early days of television, when they didn't have much programming...
Basically, what they often did was just borrow the popular radio show of the time and move it to TV. This is Stephen Stark. I wrote a book about television, and I'm a poet. I write poetry now. So, yeah, it's what I do. Did you ever write any poems about Howdy Doody? No, never wrote a poem about Howdy Doody, nor will I ever.
Stephen says that when televisions first were on the market, few people could afford one. In 1948, very few people had televisions. We're talking fewer than a million people. And it was not yet a nationwide medium. Most of the early television stations were in New York, and those first broadcast signals didn't reach all that far. So nearly everyone who did own a TV lived in the New York area.
So what you tended to get in the early days of television were shows that were very New York. I mean, loud, in your face. Take off your clothes. I want to examine you. Take off your clothes. Oh, I couldn't. A lot of slapstick, chaotic. Some strange cameras. Yeah, Milton. Pull off your pants. Come on.
And the number one television show in the early days of the medium was Milton Berle's show, Texaco Star Theater, which was essentially a New York vaudeville show transferred to television. You want to go on television every week? Yeah. Yes, but there's one important thing I must tell you, Danny, you've got to have gimmicks. Oh, gimmicks. Gimmicks, running gags that you've got to do every week. Like the seltz a bit. Oh, no, no seltz. Yeah, the seltz a bit. Oh, please, no. You take the seltz out. No, no, no.
One reason vaudeville worked so well was because of another big hurdle. Video playback didn't exist yet, meaning television shows in the early days had to go out live.
Meanwhile, plenty of shows that worked on the radio, dramas like The Lone Ranger and The Shadow, couldn't be adapted for live television, even if they could playback recorded video. In the 1940s, no one in the industry was ready to invest those kinds of resources. As a result, there was so little programming being made for television that for a long while, there wasn't anything on before dinnertime. And I don't mean there wasn't anything on like...
It was boring. I mean, there was literally nothing on. The TV networks only broadcast after 7 p.m. But then, in 1947, NBC found something new to put on the air by borrowing a different trick from the vaudevillian playbook, puppets. Puppets were highly visual, they were live, they were cheap, and perhaps most importantly, kids loved them.
The plan was to do a one-hour kids' special at the ungodly early hour of 5 p.m. They called it Puppet Playhouse, and they tapped Bob Smith to host it, along with his country yokel sidekick, Howdy Doody. And it is important to remember it didn't have...
And just like Milton Berle, it was going to be a vaudeville show made for television. Howdy Doody, which premiered around the same time on the same network, NBC, was going to be a vaudeville show made for television.
was essentially the Milton Berle show for kids. The show was scheduled to air on December 27th, but they didn't greenlight it until the week before Christmas. So the producers only had two weeks to put together a live program. Bob Smith said that he didn't find out he was hosting the show until four days before the broadcast date. And the stakes were very high for Bob Smith's television debut. He was about to have an unexpectedly huge audience.
The day before Puppet Playhouse went on the air, it started snowing in New York. And it didn't stop for 24 hours. A record-breaking storm dumped mountains of snow on New York City. So the day after the big snowstorm...
was the airing of the very first live public playhouse show. This is Chance Mitchell. He runs the Doodyville Historical Society, basically the Howdy Doody fan club. Luckily, Bob had already been in the studio for a while, so when everybody was snowed in, they were kind of snowed in too. Chance says that the snowstorm closed down all the typical entertainment options. There were no shows on Broadway, no music in the clubs. All the movie theaters shuttered.
Everyone was stuck at home. And there were only three TV stations at the time. Two of the stations were showing basketball games that night. The third was debuting Puppet Playhouse. And so everybody was at home. So everybody tuned in to this puppet show that was on the air. The only problem was...
There was no puppet. Remember, they'd only had two weeks to adapt material that had been designed for the radio into highly visual entertainment.
including designing a physical Howdy Doody. Because up until then, he had just been a voice. And the puppeteer didn't have enough time to finish the puppet before the show went live. So they improvised. When the moment came for Howdy to make his entrance, Buffalo Bob told the small handful of kids that had made it to the studio that sadly, poor old Howdy was too shy to appear in front of the camera. So he was hiding in Bob's desk drawer.
And he would go over to the desk door and say, are you in there, Howdy? And Howdy would say, oh, yeah, but I want to bashful to come out. Well, he was too bashful for three weeks. And in spite of the fact that no one could see the star of the show, or who knows, maybe because they couldn't see him, the kids loved it. NBC decided to give Bob Smith his own children's TV show five nights a week. And mothers would take their kids to
Plop him in front of the television set, Howdy Doody would come on, and they could do something else. So it was the first show in television history, really, to see TV as a babysitter. Suddenly, a new, beautiful gift was given to parents all around the country. A break from their little monsters. Every episode of this new show opened with a question. Hey kids, what time is it? Oh my God!
And there was a live studio audience. They all sat together and they were called the Peanut Gallery. And if you watch any of the old shows, the boys and girls are still very dressed up.
The kids would all be wearing coats and ties and party dresses, and there, less than 10 feet away on the stage, was Bob, along with Howdy, who did eventually come out from that desk drawer. Howdy, Doody. How did you like hearing that, little fella? Well, Mr. Smith, that was, oh, it was just wonderful. It's so thrilling when the boys and girls sing my song so loud.
Now, I just want to pause right here and say that if you have any familiarity with Howdy Doody, you probably have an image in your mind of what this puppet looks like. But the Howdy that is currently prancing around in your brain is not the Howdy Doody that first appeared on the show.
The original Howdy Doody was a different puppet, one that a lot of people thought was hideously ugly. And allegedly it was too scary for the kids. I don't really believe that to be the case, but that's the story that Bob and people around Bob would say about the puppet.
They eventually ended up calling him Ugly Doody. He kind of looked like Beaker from The Muppets, in my opinion. But it didn't matter. In spite of him being ugly, or who knows, perhaps because he was so ugly, the kids loved Howdy, even more than when he was stuck in the drawer. Though it's possible they would have loved a mop with googly eyes. This was, after all, the first time the kids watched television. But it's also the case that Howdy was just...
Nice. He's always a positive, outgoing, happy 10 year old. He was 10 in 1947 and 75 years later, he's still 10. Everything that Howdy does is for the good of the whole community of Dutyville, not just for himself.
Howdy was operated by a woman named Rhoda Mann. She stood on a platform above the set, holding Howdy's strings. She was an especially gifted puppeteer who excelled at making Howdy move as much as possible like a real human. And Bob and Howdy would have all sorts of adventures together, usually designed to teach the kids a valuable lesson. And it's actually a magic word, friendship. I hope all the kids know what friendship really is, Mr. Schmidt.
Although since his previous voice acting had been for the radio, Bob Smith never learned to throw his voice. So anytime Howdy talked, Bob had to be off screen.
Well, I think they do. Matter of fact, I could go over and find out about it. Do you all have a lot of friends, I hope? Yes! Well, now, what do you think are some of the best ways that you could possibly make a friend? There was also a rotating cast of other characters, including live actors, like a mute clown named Clarabelle, who kept blasting everyone in the face with a horn and a seltzer bottle, just like Milton Berle's old act. Clarabelle, would you bring that rope there? What?
which apparently caused the same maniacal laughter in kids that it did in adults. You fucking...
This being a 1950s show about cowboys, there were also some Native American characters that traded on racist stereotypes. They were played by white actors, including an Indian princess and an Indian chief named Thunder Thud, who is mainly remembered for coining the term cowabunga. Oh, cowabunga, doggone, I should have guessed that.
But mainly there were puppets, wonderful, inventive, gloriously cost-saving puppets, including the Flubber Dove, a creature that was eight animals in one, and Phineas T. Bluster, the villainous mayor of Dutyville. Here's Burt Dubrow again, our 10-year-old Howdy Doody superfan. He says Mayor Bluster often had some scheme he was cooking up. There was an Easter egg episode where Mr. Bluster...
bought all the Easter eggs in Dutyville, all of them, so that they would have to then buy them from him and he would overcharge them just to piss off everybody and upset the kids. You get the point I'm making here? Yes.
Okay. The executives at NBC knew they had a quality television show on their hands. But the problem was, there was no easy way of knowing just how many kids were actually watching it. Nielsen television ratings didn't exist yet, making it hard to sell the program to sponsors, not without data. And without sponsors, there was no profit. So in 1948, the suits at NBC and the writers at Howdy Doody devised a scheme worthy of Phineas T. Bluster himself.
Eddie Keene, the absolute genius script writer and songwriter for the show, came up with the idea that Howdy decided he would run for president of all the kids in the United States. Howdy told the kids watching at home that if they mailed in a postcard with a write-in vote for Howdy to the NBC office, he would send them their very own Howdy Doody campaign button.
Now kids, I want you to all make sure of this. Now this is the last chance that you have to vote. Just the end of this week and all the votes must be in. The more postcards that came in asking for buttons, the more kids must be watching the show. And that in turn would help NBC sell the program to potential sponsors. And then it's Box 333, Box 333, and then it's New York 19 New York.
Now, come on, all of you kids get in there and vote with it. And so they thought, you know, maybe we can print up, you know, probably 5,000 buttons or something. Well, at the end of the entire run, they had reached a total of 60,000 buttons. This was an insane number. We don't actually know how many postcards would have come in because NBC's mailroom got so overwhelmed, they refused to accept any more.
By which point, the number of postcards received was equal to one-third the total number of TV sets in America. That was more households than were technically able to get Howdy Doody. Which proved that kids and their families would go over to their neighbor's house that did have a television set and sit down and watch the Howdy Doody show. And so this got them sold out completely.
Within months, some of the biggest brands in the country wanted to sponsor the show. Colgate, Ovaltine, Kellogg's. The department store Macy's wanted to sell Howdy Dolls. And NBC was more than happy to arrange a licensing deal. Money was pouring in.
But there was one person who was not getting a cent. Frank Paris, the man who had designed the Howdy Doody puppet. NBC had only paid him $500 to make it. But Buffalo Bob and NBC owned all the rights to the character. Well, Frank got very angry at this and one day barged into the office and said, well, if you think it's your puppet...
See how you do a show tonight. Took the puppet and went home around two o'clock in the afternoon when the show had to be on at five. Howdy Doody was supposed to go live in a matter of hours, and the star of the show was missing. Again, puppet-napped by its disgruntled creator. And because the show's producers were still learning how to run a television show, they had only made the one puppet.
There were no backups. They would need time to make a new one, leaving Buffalo Bob and the writers to come up with one of the most preposterous storylines in the history of television. Because when Frank Perez stormed out with Howdy Doody, a.k.a. Ugly Doody, they realized that it might just provide the perfect excuse to give Howdy the visual upgrade they had always wanted.
After the opening theme song, Buffalo Bob explained to the kids in the peanut gallery that Howdy would not be joining them today because he was out campaigning to be president. And while he was on the campaign trail, Howdy had met his opponent.
A mysterious man who went by the name Mr. X. And Eddie Keene came up with the idea, which sounds so ridiculous now, that he ran into his running mate, Mr. X, and Mr. X was very handsome and getting all the votes from all the girls. Buffalo Bob told the kids that after Howdy met his insanely handsome opponent, he had come to the sad realization that he was too ugly to be president.
But fear not, because there was a solution. Howdy was going to visit a plastic surgeon. For a few weeks after that, from the neck down, Howdy looked just like his old self. But from the neck up, he had bandages covering his head. That way, none of the kids realized that it was just some random puppet standing in for the star. In the meantime, they fire Frank, they get rid of the ugly puppet, and now they got to find someone to make a new one.
You know, a good-looking one. NBC hired a woman named Velma Dawson to create a new Howdy Doody puppet, one that would not allegedly frighten small children. And on June 8, 1948, the new Howdy was ready. And so then when the new one came in, they took that puppet, put bandages around him, and then they unveiled him. Slowly, Buffalo Bob unwrapped Howdy's bandaged head.
and a freckled, bulbous-cheeked child gazed out at the world with its unblinking blue eyes and a perpetually smiling face. The surgery was a success. The future president of the kids of the United States had arrived, and the kids went wild.
For the next decade, Howdy Doody had an unprecedented run of success. It was the first kids' show to be broadcast nationally and the first to regularly broadcast in color. And as the show became more popular, so too did television itself. When Howdy Doody first went on the air in December of 1947, there were fewer than 200,000 television sets in America. By 1960, it was the longest-running show on TV, and America had nearly 50 million televisions.
Almost 90% of the country owned a TV. This freckled 10-year-old boy embedded himself into the minds of an entire generation of children in the 1950s. And the thing that Howdy fans dreamed of more than anything was to be one of those lucky few kids who got to experience the show in person as a member of the peanut gallery, to feel that fine mist of seltzer on their face as it rained down from Clarabelle's bottle.
I do remember like it was yesterday, walking into that studio. Superfan Bert Dubrow says that back when he was a kid, after he finally won Bob over, Bob gave him a handful of tickets to a taping of the show. And even though he had seen Bob behind the counter of the liquor store dozens of times by then, when he stepped into the studio, he was transported. Up to that point, Bert had only ever experienced Howdy Doody on his black and white television.
And the only thing I can compare it to is in The Wizard of Oz, you know, it starts out in black and white, and then when they open the door and she's in Oz and you see the color, that's what this was like for me. And there's everything. I mean, there's the puppets and... I mean, everything that I knew better than anybody knew it. And then all of a sudden, Bob...
or I should say Buffalo Bob now, came through the cameras and yelled out, where's Bert? And my friends are on the peanut gallery and they can't believe it. And he said, introduce me to your friends. And it was ridiculous. When we come back, the story of how the medium that Howdy Doody helped create would pass Bob and Howdy by and never look back after this. ♪
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When we left, the Howdy Doody show appeared to be at the height of its popularity, its prestige, and its profitability. At the time, it would have been hard for kids and adults alike to imagine the show ever ending. But incredible as it was for fans like the young Burt Dubrow to sit in the peanut gallery, the truth was that for a long time, just behind the scenes, the Howdy Doody show had been having problems, one of which was money.
In 1950, Buffalo Bob agreed to sell Howdy Doody to a new company created by NBC and the Wall Street firm Lehman Brothers. The name of this new company was Cagran, which in my humble opinion sounds like the name a TV writer would come up with for a soulless corporation that buys a beloved children's television show with the singular focus on squeezing as much money from the pockets of children's parents as possible.
Which, coincidentally, is exactly what happened. When Kagren took over, sponsors became increasingly involved both on screen and off. More and more companies started to see the potential of marketing their products to kids. Or through kids. As Buffalo Bob told children to get their parents to buy this or that product, Howdy became a marketing bonanza.
Kids, look here. Clarabelle has this whole lunchbox just filled with Hostess Twinkies. So kids, you ask Mom to buy some Hostess Twinkies the next time she goes to the store.
Howdy's face began staring at people from bread packaging and juice bottles. And eventually, there was a backlash to the show. It provided an early window into how television would be criticized by intellectuals. And they could make the argument, how can you show this crud off?
It's going to have this terrible effect on them. Leaving out for a second that Milton Berle was the same show, so adults were consuming the crud just as much as the children were. At the same time, TV was evolving as a medium. New children's shows were popping up. Howdy had competition, including perhaps the biggest development in children's television, the cartoon. Here I come to save the day.
The other networks realized that airing cartoons was cheaper than filming a bunch of actors on a soundstage every week. And kids loved them. Of course, puppets, compared to a cartoon character, they can't possibly compete. Because they fit the style of the medium.
And the competing live-action shows didn't go away. They just got more visually sophisticated, including the show that perhaps would prove to be the perfect marriage of live-action and cartoon IP. Who's the leader of the Trumpets? Make for you and me. M-I-C-K-E-Y-M-O-U-S-E. Make it happen. Make it happen. Make it happen. Forever.
The Mickey Mouse Club featured a cast of singing and dancing kids alongside serials, often involving Disney characters. Meanwhile, Howdy Doody, the show that never met a problem it couldn't innovate its way out of, had stopped innovating. It was just the same old vaudeville puppet show. As programs like the Mickey Mouse Club evolved around it, Howdy looked increasingly old-fashioned and threadbare.
So by 1960, when it left the air, I mean, basically the air had left them because, you know, the other shows were better. In 1956, the executives at NBC cut the show back from five days a week to just one on Saturday afternoon. And suddenly everyone on the show was only making a fraction of the money they had before. Burt says that's one of the reasons Bob purchased the liquor store.
It was his way of giving some of the show's staff a job. He wanted something for the guys at work for him to do after the show was off the air. He knew the show was going to go away. The last episode of Howdy Doody aired in 1960. Bob Smith had not planned on being just a children's entertainer, but he didn't have a second act after he hung up his Buffalo Bob outfit.
And it was during this twilight period that our intrepid superfan, Bert Dubrow, actually becomes part of the story. When he grew up, he went to college in Boston, but he never stopped being fascinated with the entertainment industry. What was the dream at that point? Just to be in television, to be a producer, to be in television. I'm not even sure a producer, just to be in it. But it was because it was live and it was real. So once it became cartoons, I didn't have an interest in it anymore. But I always did with talk. Always. Always. Always.
Then, in 1970, he heard that Buffalo Bob was coming to town to perform. He had been doing a Howdy Doody revival tour.
So I go to the auditorium, I sit down, big place, probably 1,500 people, and it's like there's Buffalo Bob. And in spite of the fact that Bob was effectively putting on a show designed for toddlers in front of a bunch of grown men, or who knows, perhaps because he was putting on a show for toddlers in front of a bunch of grown men, the audience loved it. And he was effing amazing.
All the songs, sang all the songs, did everything. Everybody knew the words to every song. Like an idiot, I'm singing the songs too. And when the show was over, Burt went to see Bob and his brother Vic backstage. He knew that Bob had had a heart attack several years earlier. And he figured that Bob's health was as good a reason as any to get his foot into the door of show business. So I said to Vic, listen, he needs me on the road. He'll drop dead. He's going to get another heart attack. Anyway, Bob called me.
and said, let's do it. You'll travel with me and all that. And it was rough. He was rough. He was not easy. What do you mean? He was very demanding, and I'd say moody. I didn't get my own room on the road, so I didn't sleep in the same room as him. So I think I got $25 or $50 a show. That was it. But I couldn't have been happier.
Burt's decision to drop out of college and pursue a career in television paid off. He went on to create the Sally Jesse Raphael show. And then after it became a hit, he came across a local news anchor in Cincinnati. And he thought, this guy should have his own talk show. That anchor's name was Jerry Springer. Jerry! Jerry! Jerry!
It started out as a straight show and ended up with throwing chairs. Yeah. But... I interviewed Bert at his home in Denver, Colorado. He told me we would be doing the interview in his basement, and I was not prepared for what was down there. Get ready. Go ahead, I'll meet you down there. Okay, all right, sounds good. When we descended the stairs, I was greeted by the smiling faces of so many puppets. It was like a museum.
Wow, this is amazing. Yeah, I'd love you to give me a little tour and try to... Oh, wow. Oh, yeah. All around me, everywhere I looked, was something from the original Howdy Doody show. All the costumes and props and photographs and puppets.
I felt kind of like how Bert must have felt when he first went to that taping and finally got to see everything in color. That's the original Princess Summerfell Winter Spring puppet, one of the, used to give away at the peanut gallery. There I am in the peanut gallery that day. That's me right there, yeah. When I asked Bert how he got all this stuff, he says that when the revival tour was winding down, he asked Bob if he could keep a few things. And Bob couldn't understand why he would want any of it. This was before collectibles really took off.
So when the show wrapped, he gave Burt everything that happened to be left. And so here I am sitting with, you know, Clarabelle's box and the horns. And hold on here. Hold on. Everybody will recognize, that knows how to, will recognize that sound. And that's the actual horn. It's one of them. There's Bob and Springer and me. Burt led me around his basement, glass of ice water in his hand, pointing out various pieces of memorabilia from his long career in show business. And there, in a corner...
Standing upright was the star of the show, Howdy Doody himself. One of the very few puppets made from the original mold that was used on the show when Howdy first came out of plastic surgery. There's the boy in the corner over there. Nice case. Wow. I know. This is sort of my freaking life. It's crazy.
99% Invisible was reported this week by David Weinberg, produced by Jacob Maldonado-Medina and edited by Joe Rosenberg. Mix and sound design by Dara Hirsch. Music by Swan Real. Fact-checking by Graham Heysha.
Special thanks to Roberta Chirac and Fresh Air for the use of the Stephen Davis interview. Kathy Tu is our executive producer. Kurt Kolstad is the digital director. Delaney Hall is our senior editor. The rest of the team includes Chris Berube, Jason DeLeon, Emmett Fitzgerald, Christopher Johnson, Vivian Leigh, Lasha Madan, Gabriela Gladney, Kelly Prime, Nina Potok, Sarah Bake, and me, Roman Mars. The 99% Invisible logo was created by Stephan Lawrence.
I strongly recommend you go check out David Weinberg's experimental podcast, Random Tape. It's sort of a cabinet of auditory wonders and curiosities that David started in the form of, and I am not joking here, a physical audio zine on compact disc in 2006. And it's been a favorite of us radio and podcast nerds ever since. Check it out. It's worth your time.
99% Invisible is part of the Stitcher and SiriusXM podcast family, now headquartered six blocks north in the Pandora building in beautiful Uptown, Oakland, California. You can find us on all the usual social media sites, as well as our own Discord server, which I highly recommend you check out. That's where I'm spending most of my time these days. You can find a link to it and every past episode of 99PI at 99pi.org.
I've got prostate cancer, but I really wanted to make it to the big game with my grandson. And here we are.
Go, go, go. With Erleada, apalutamide, being there is possible. Erleada is a prescription medicine used to treat prostate cancer that has spread to other parts of the body and still responds to a medical or surgical treatment that lowers testosterone. Erleada may cause serious side effects, including heart disease, stroke, or severe skin reactions, which can lead to death, falls, fractures, or even death.
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Tito's Handmade Vodka had been mixed with its fair share of cocktails, but one night, a chilled glass topped with lime and cranberry would change everything this bottle knew about happy hour. From the producers of America's Favorite Vodka, it turns out the cocktail you've been waiting for was right there the whole time. The Tito's Rom Cosmo. You'll laugh, you'll cry, you'll sip with Tito's.
Coming to cocktail parties near you at Tito's Vodka dot com. 40% alcohol by volume, namely 80 proof crafted to be savored responsibly. Reese's peanut butter cups are the greatest, but let me play devil's advocate here. Let's see. So no, that's a good thing. That's definitely not a problem. Reese's, you did it. You stumped this charming devil.
