1
00:00:04,004 --> 00:00:06,082
Narrator: IN TV'S
PIONEERING DECADES,

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00:00:06,106 --> 00:00:08,017
NEARLY EVERY TOWN WITH
A TV STATION

3
00:00:08,041 --> 00:00:09,786
HAD ITS OWN
LOCAL KIDS' PROGRAM.

4
00:00:09,810 --> 00:00:13,156
McCann: HE MADE
THOSE PUPPETS LIVE.

5
00:00:13,180 --> 00:00:15,124
THEY WERE ALIVE.

6
00:00:15,148 --> 00:00:16,125
KIDS ARE REALLY SHARP.

7
00:00:16,149 --> 00:00:19,128
THEY WANT TO LAUGH,
AND IF IT'S FUNNY, IT'S FUNNY.

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00:00:19,152 --> 00:00:21,464
Woman: THERE WAS A FORMULA.

9
00:00:21,488 --> 00:00:23,132
IT WAS A SUCCESSFUL FORMULA.

10
00:00:23,156 --> 00:00:25,935
SOME OF US ARE
ABSOLUTELY ADORABLE.

11
00:00:25,959 --> 00:00:28,638
SOME OF US ARE UGLY,
AND WE LIKE IT THAT WAY.

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00:00:28,662 --> 00:00:31,574
IT WAS KIND OF LIKE THAT CLOWN
ON "THE SIMPSONS,"

13
00:00:31,598 --> 00:00:33,443
ONLY THIS WAS BEFORE
"THE SIMPSONS."

14
00:00:33,467 --> 00:00:36,913
WHEN YOU SEE BOZO ON TV,
HE'S THAT BIG, AND THEN WHEN YOU

15
00:00:36,937 --> 00:00:39,382
SAW HIM IN LIFE,
HE WAS ME.

16
00:00:39,406 --> 00:00:42,552
Rogers: AND I THOUGHT,
"THIS COULD BE

17
00:00:42,576 --> 00:00:45,188
A WONDERFUL TOOL
FOR EDUCATION."

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00:00:45,212 --> 00:00:49,325
Narrator: TOGETHER, THEY CREATED
A NEW FORM OF ENTERTAINMENT...

19
00:00:49,349 --> 00:00:54,163
LOCAL TV FOR CHILDREN.

20
00:00:54,187 --> 00:00:58,818
THEY ARE THE PIONEERS
OF TELEVISION.

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Man: HOW DO YOU FEEL?

22
00:01:02,563 --> 00:01:04,874
GOOD!
GOOD!
GOOD!

23
00:01:08,468 --> 00:01:11,648
"BOZO'S CIRCUS"
IS ON THE AIR!

24
00:01:13,173 --> 00:01:14,918
Narrator: THEY CREATED
THE CHARACTERS

25
00:01:14,942 --> 00:01:16,019
THAT SHAPED OUR CHILDHOODS.

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Ringmaster: WITH BOZO,
THE WORLD'S GREATEST CLOWN!

27
00:01:19,479 --> 00:01:22,458
HEY, BOYS AND GIRLS,
IT'S BOZO!

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LET ME INTRODUCE YOU
TO A FRIEND OF MINE.

29
00:01:26,787 --> 00:01:27,931
HERE'S KERMIT.

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00:01:27,955 --> 00:01:29,480
HI, THERE.

31
00:01:30,557 --> 00:01:33,036
Narrator: GIVEN A BLANK SLATE,
THEY CREATED SOME OF

32
00:01:33,060 --> 00:01:36,039
TELEVISION'S MOST
INVENTIVE PROGRAMS.

33
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BUT YOU'RE NOT
AS UGLY AS YOU LOOK.

34
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OH, THANKS.

35
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HEH-HEH.

36
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MY MOTTO WAS, "DON'T DO WHAT
ANYBODY ELSE IS DOING."

37
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Narrator: THEY ENDURED
THE CHALLENGES

38
00:01:46,840 --> 00:01:50,386
OF LOW BUDGETS
AND IMPOSSIBLE SITUATIONS.

39
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I WENT TO THE SALVATION ARMY

40
00:01:51,878 --> 00:01:54,457
AND I PULLED ALL MY
COSTUMES OUT OF THERE.

41
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IT WASN'T THAT COMPLICATED
IN THOSE DAYS.

42
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ALL YOU... YOU DID...
WHAT YOU SAW IS WHAT YOU GOT.

43
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DOING A KIDS' SHOW IS...
I MEAN, YOU'VE GOT TO BE

44
00:02:03,390 --> 00:02:06,035
ON TOP OF YOUR GAME
AND YOU HAVE TO REALLY

45
00:02:06,059 --> 00:02:08,204
KEEP UP WITH THE KIDS,
BECAUSE THEY'LL TAKE OVER.

46
00:02:08,228 --> 00:02:11,174
ONE OF THE LITTLE BOYS
WAS KIND OF ACTING UP,

47
00:02:11,198 --> 00:02:12,942
AND I HAVE TO THROW THIS IN...

48
00:02:12,966 --> 00:02:15,678
I DON'T BELIEVE
IT WAS LEONARDO DiCAPRlO.

49
00:02:15,702 --> 00:02:18,948
HE CLAIMS THAT HE WAS
KICKED OFF THE SHOW,

50
00:02:18,972 --> 00:02:20,917
BUT WE NEVER DID THAT.

51
00:02:20,941 --> 00:02:23,186
I WAS PLAYING THE BAD GUY,
YOU KNOW?

52
00:02:23,210 --> 00:02:25,655
AND THE KIDS DIDN'T LIKE IT,
AND WHEN I CAME BY,

53
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THEY THREW STONES AT ME,
I SWEAR TO GOODNESS.

54
00:02:28,448 --> 00:02:30,193
I HAD TO RUN FOR MY LIFE!

55
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Narrator: THEY FORGED
A RELATIONSHIP WITH THE AUDIENCE

56
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UNLIKE ANYTHING TELEVISION
HAS EVER SEEN.

57
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Woman: I LOVED IT.

58
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I WOULD HAVE
DONE IT FOR NOTHING,

59
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AND THEY PAID ME.

60
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IT WAS SUCH A JOY,
SINCERELY SO.

61
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I WAS BLESSED TO BE RIGHT PLACED
AT THE RIGHT TIME.

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WHEE!

63
00:02:51,638 --> 00:02:52,615
THIS SMALL PIECE OF RUBBER

64
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FILLED WITH HELIUM

65
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IS NOT THE GREATEST THING
IN THE WORLD FOR A KING

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00:02:57,678 --> 00:03:00,556
TO HAVE FLOATING
AROUND HIS NOSE.

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Rogers: I'D JUST LIKE
TO BE REMEMBERED

68
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FOR BEING A COMPASSIONATE
HUMAN BEING

69
00:03:06,920 --> 00:03:11,267
WHO HAPPENED TO BE FORTUNATE
ENOUGH TO BE BORN AT A TIME

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WHEN THERE WAS THIS FABULOUS
THING CALLED TELEVISION.

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Narrator: IN TIME,
THEIR EFFORTS WOULD GIVE RISE

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TO THE NATIONAL CHILDREN'S SHOWS
WE ENJOY TODAY,

73
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BUT THE FOUNDATION WAS LAID

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AT LOCAL STATIONS
ACROSS AMERICA.

75
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WELL, I FINALLY MADE IT.

76
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I'VE GOT MY LOUNGING...
MY LOUNGING OUTFIT ON HERE.

77
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THIS IS THE ONE I'M GOING TO
LOUNGE AROUND WITH.

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00:03:36,450 --> 00:03:38,327
Narrator: IN THE 1950s AND '60s,

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LOCAL KIDS' SHOWS
REFLECTED THE COMMUNITY

80
00:03:40,754 --> 00:03:43,866
IN A WAY NO NATIONAL SHOW
EVER COULD.

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00:03:43,890 --> 00:03:46,035
YOU KNOW, YOU CAN GO
AND SEE HAZEL

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OVER AT 909 WEST LAKE STREET.

83
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THAT'S THE UPTOWN PET HOTEL,
AND SHE'S THERE ALL THE TIME,

84
00:03:51,565 --> 00:03:52,575
AIN'T YOU, HAZEL?

85
00:03:52,599 --> 00:03:53,310
COME RIGHT IN HERE.

86
00:03:53,334 --> 00:03:56,045
SHE'S SO GENTLE, YOU KNOW,
YOU CAN PUT YOUR WHOLE HAND

87
00:03:56,069 --> 00:03:59,115
RIGHT IN HER MOUTH AND SHE DON'T
BITE IT OFF OR NOTHING.

88
00:03:59,139 --> 00:04:00,450
AT LEAST NOT YET!

89
00:04:01,475 --> 00:04:04,120
I'VE HEARD PEOPLE
ALL OVER CHICAGOLAND

90
00:04:04,144 --> 00:04:06,723
TRYING TO GET TICKETS
TO THE WORLD SERIES.

91
00:04:06,747 --> 00:04:09,992
HOW IN THE WORLD WOULD YOU TWO
SHOW UP WITH TWO TICKETS

92
00:04:10,016 --> 00:04:11,994
TO TOMORROW'S
WORLD SERIES GAME?

93
00:04:12,018 --> 00:04:14,063
THIS IS GOING TO BE
SOME LITTLE

94
00:04:14,087 --> 00:04:14,932
DUTCH GIRLS.

95
00:04:14,956 --> 00:04:15,933
OH, GEE, THAT'S NEAT!

96
00:04:15,957 --> 00:04:18,935
I'D LOVE TO SEE
SOME DUTCH CHILDREN!

97
00:04:18,959 --> 00:04:20,470
OH, WELL, TERRY,
YOU CAN SEE PEOPLE

98
00:04:20,494 --> 00:04:22,638
FROM ALL OVER THE WORLD
RIGHT HERE.

99
00:04:22,662 --> 00:04:27,744
DUTCHMEN AND FRENCHMEN
AND PEOPLE FROM INDIA OR IRAN.

100
00:04:27,768 --> 00:04:28,845
WHERE SHOULD I
LOOK FOR THEM?

101
00:04:28,869 --> 00:04:30,246
WELL, THE UNITED NATIONS
BUILDING

102
00:04:30,270 --> 00:04:31,347
RIGHT HERE
IN NEW YORK CITY.

103
00:04:31,371 --> 00:04:33,082
IT'S A WONDERFUL PLACE
TO VISIT, TOO.

104
00:04:33,106 --> 00:04:33,984
WE DON'T?
NO, WE DON'T.

105
00:04:34,008 --> 00:04:37,286
WOULD YOU LIKE TO GET THROUGH
A LOT OF MAIL?
YEAH, LET'S GO.

106
00:04:37,310 --> 00:04:38,654
ALL RIGHTY-ROW, RAY.

107
00:04:38,678 --> 00:04:40,823
FROM YOUR FRIEND JOEY,
HOW ABOUT THAT?

108
00:04:40,847 --> 00:04:42,125
♪ JOEY, JOEY, JOEY ♪

109
00:04:42,149 --> 00:04:43,693
JOEY IN CHICAGO, ILLINOIS.

110
00:04:43,717 --> 00:04:44,994
GOOD TOWN, CHICAGO.

111
00:04:45,018 --> 00:04:47,597
Narrator: PERSONALITIES
LIKE RAY RAYNER IN CHICAGO

112
00:04:47,621 --> 00:04:50,800
WERE BELOVED, ALMOST LIKE
A MEMBER OF THE FAMILY.

113
00:04:50,824 --> 00:04:52,635
THEY READ KIDS' LETTERS,

114
00:04:52,659 --> 00:04:54,504
SHOWCASED STUDENT ART...

115
00:04:54,528 --> 00:04:55,505
HERE YOU GO.

116
00:04:55,529 --> 00:04:56,473
HE LIKES TO JUMP UP.

117
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Narrator:
GOOFED AROUND WITH ANIMALS,

118
00:04:58,632 --> 00:05:00,943
AND OFFERED ALL-IMPORTANT
INFORMATION

119
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ABOUT SCHOOL CLOSINGS

120
00:05:02,903 --> 00:05:04,280
ON SNOWY DAYS.

121
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IT WAS A TIME WHEN
KIDS' SHOWS DIDN'T

122
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HAVE TO BE FAST-PACED TO HOLD
A YOUNG PERSON'S ATTENTION.

123
00:05:10,544 --> 00:05:11,988
I ASSUME I TAKE
THIS THING OFF FIRST,

124
00:05:12,012 --> 00:05:17,293
BECAUSE MY FIRST STEP IS TO
"CUT MESH IN HALF LENGTHWISE."

125
00:05:17,317 --> 00:05:19,428
Man: WOULD THE BACK ROW
STAND UP?

126
00:05:19,452 --> 00:05:20,830
HI, EVERYBODY IN THE BACK ROW.

127
00:05:20,854 --> 00:05:22,031
I'M CERTAINLY GLAD TO SEE YOU.

128
00:05:22,055 --> 00:05:23,533
Narrator: FOR A GENERATION
OF AMERICANS,

129
00:05:23,557 --> 00:05:26,736
THE OPPORTUNITY TO ACTUALLY JOIN
THE STUDIO AUDIENCE

130
00:05:26,760 --> 00:05:30,773
OF THEIR FAVORITE SHOW
REMAINS A CHERISHED MEMORY.

131
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King: BECAUSE
ONCE THEY SEE YOU

132
00:05:32,866 --> 00:05:36,112
AND KNOW YOU'RE REAL,
YOU HAVE THEM FOREVER.

133
00:05:36,136 --> 00:05:39,615
YOU'RE NOT JUST SOMEBODY
IN THIS LITTLE BOX.

134
00:05:39,639 --> 00:05:42,451
YOU WOULD WRITE AWAY TO GET
TICKETS SIX MONTHS IN ADVANCE

135
00:05:42,475 --> 00:05:44,153
AND THEN YOUR MOTHER
WOULD DRESS YOU UP

136
00:05:44,177 --> 00:05:46,622
AND THE NEIGHBORS
WOULD GET IN THE CAR,

137
00:05:46,646 --> 00:05:47,591
STATION WAGONS THEN,

138
00:05:47,615 --> 00:05:49,725
AND THEY WOULD ALL SHOW UP
AT THE STUDIO

139
00:05:49,749 --> 00:05:51,561
AND THEY HAD TO WAIT IN LINE
TO GET IN

140
00:05:51,585 --> 00:05:52,895
AND THEY HAD LITTLE
SEATS TO SIT...

141
00:05:52,919 --> 00:05:56,232
IT WAS A TV SHOW THAT
THE KIDS COULD VISIT

142
00:05:56,256 --> 00:05:57,134
AND THEN GO HOME AND WATCH.

143
00:05:57,158 --> 00:06:00,770
WE WERE LIVE, BUT THEY COULD
WATCH THE SHOW DURING THE WEEK.

144
00:06:00,794 --> 00:06:03,272
AND THAT WAS
AN AWFUL LOT OF FUN.

145
00:06:03,296 --> 00:06:04,307
SOMETHING LIKE THIS.

146
00:06:04,331 --> 00:06:05,492
Narrator: FUN IT WAS,

147
00:06:05,832 --> 00:06:08,077
AND NO CITY IN AMERICA
HAD MORE FUN

148
00:06:08,101 --> 00:06:11,414
FOR A LONGER TIME
THAN PHOENIX, ARIZONA.

149
00:06:11,438 --> 00:06:14,450
ALL RIGHT, WHY DON'T YOU
DEMONSTRATE FOR US NOW

150
00:06:14,474 --> 00:06:16,452
THE WAY YOU FIGHT,
THE WAY YOU...

151
00:06:16,476 --> 00:06:17,920
Narrator: THIS PHOENIX
KIDS' PROGRAM

152
00:06:17,944 --> 00:06:20,590
CALLED "WALLACE AND LADMO"
RANKS AMONG

153
00:06:20,614 --> 00:06:22,725
THE MOST POPULAR
LOCAL CHILDREN'S SHOWS

154
00:06:22,749 --> 00:06:25,161
IN THE HISTORY OF
AMERICAN TELEVISION,

155
00:06:25,185 --> 00:06:28,431
BEATING THE COMPETITION
FOR NEARLY 40 YEARS,

156
00:06:28,455 --> 00:06:31,467
A SHOW THAT WASN'T AFRAID
TO LAMPOON ANYTHING.

157
00:06:31,491 --> 00:06:35,204
NOW TRYING TO ATTACK
THE FRAME AND FACE HERE.

158
00:06:35,228 --> 00:06:35,839
OKAY.

159
00:06:35,863 --> 00:06:39,108
CRASH...
YOU CRASH SOMETIMES,

160
00:06:39,132 --> 00:06:40,176
AND A LITTLE KICK.

161
00:06:40,200 --> 00:06:42,011
YOU'RE TOUGH,
YOU ARE TOUGH.

162
00:06:42,035 --> 00:06:43,112
Thompson: IT WAS A FUN JOB.

163
00:06:43,136 --> 00:06:46,148
YEAH, I CAN'T THING OF
ANYTHING CONNECTED TO IT

164
00:06:46,172 --> 00:06:47,350
THAT I DIDN'T LIKE.

165
00:06:47,374 --> 00:06:49,819
OH, OUR SALARIES.

166
00:06:49,843 --> 00:06:52,221
THAT'S THE ONLY THING.

167
00:06:52,245 --> 00:06:55,658
THOSE CHEAPSKATES DOWN THERE
AT CHANNEL 5.

168
00:06:57,585 --> 00:07:00,263
THEY WEREN'T TRYING
TO TEACH US ANYTHING,

169
00:07:00,287 --> 00:07:02,999
THEY WEREN'T TRYING TO
GIVE US ANY MORALS

170
00:07:03,023 --> 00:07:06,102
OR PRESENT ANY LESSONS,
THEY WERE JUST...

171
00:07:06,126 --> 00:07:08,220
IT WAS JUST FOR LAUGHS.

172
00:07:09,362 --> 00:07:10,307
Narrator: THE SERIES BEGAN

173
00:07:10,331 --> 00:07:15,678
IN 1954 WITH JUST WALLACE
DOING BITS BY HIMSELF.

174
00:07:15,702 --> 00:07:17,647
AH! AAAAH!

175
00:07:21,241 --> 00:07:22,885
GLAD TO SEE YOU,
WHERE'VE YOU BEEN?

176
00:07:22,909 --> 00:07:26,889
Narrator: WITHIN A FEW MONTHS,
WALLACE ADDED A SIDEKICK,

177
00:07:26,913 --> 00:07:28,724
LADIMIR KWIATKOWSKI...

178
00:07:28,748 --> 00:07:29,926
LADMO.
LADMO...

179
00:07:29,950 --> 00:07:30,727
WHAT ARE YOU DOING?

180
00:07:30,751 --> 00:07:32,695
WITH AN OCTOPUS.
OH.

181
00:07:32,719 --> 00:07:36,098
WHOSE CHILDLIKE PERSONA
MADE HIM AN INSTANT HIT.

182
00:07:36,122 --> 00:07:38,682
GLAD TO SEE YOU,
HELLO, THERE.

183
00:07:39,492 --> 00:07:43,005
THE SHOW HIT FULL STRIDE
IN 1960 WHEN A YOUNG PAT McMAHON

184
00:07:43,029 --> 00:07:47,143
TUNED IN "WALLACE AND LADMO"
FOR THE VERY FIRST TIME.

185
00:07:47,167 --> 00:07:48,978
McMahon: AND MY
FIRST THOUGHT WAS,

186
00:07:49,002 --> 00:07:52,648
"OH, NOT ANOTHER ONE OF THOSE
LOCAL KIDS' SHOWS

187
00:07:52,672 --> 00:07:55,051
"WHERE SOMEBODY
IN THE SALES DEPARTMENT

188
00:07:55,075 --> 00:07:57,787
"HAS A SOCK ON HIS HAND,
'HELLO, BOYS AND GIRLS, '

189
00:07:57,811 --> 00:07:59,855
AND TELLS EVERYBODY
ABOUT DENTAL HEALTH."

190
00:07:59,879 --> 00:08:01,824
I'M GOING TO TALK ABOUT
SEALTEST ICE CREAM.

191
00:08:01,848 --> 00:08:02,759
Narrator: BUT THEN McMAHON SAW

192
00:08:02,783 --> 00:08:05,661
WALLACE AND LADMO DO SOMETHING
COMPLETELY UNEXPECTED...

193
00:08:05,685 --> 00:08:08,965
THEY RIDICULED THEIR SPONSOR.

194
00:08:08,989 --> 00:08:10,900
GOOD, NOT GREAT,
BUT GOOD, YEAH.

195
00:08:10,924 --> 00:08:14,303
WALLACE WOULD SOMETIMES KIND OF
MAKE FUN OF THE PRODUCT,

196
00:08:14,327 --> 00:08:18,040
OR HE'D TRY AND DROP-KICK IT
SOMEWHERE OR SOMETHING,

197
00:08:18,064 --> 00:08:20,977
AND EVEN AS A LITTLE KID,
YOU KNEW,

198
00:08:21,001 --> 00:08:22,211
"THAT'S JUST NOT RIGHT.

199
00:08:22,235 --> 00:08:23,446
YOU'RE NOT SUPPOSED
TO DO THAT."

200
00:08:23,470 --> 00:08:26,148
REALLY APPRECIATE YOU
INVITING ME ON,

201
00:08:26,172 --> 00:08:30,686
BECAUSE I HAVE A HOBBY
THAT IS THE HOBBY OF KINGS.

202
00:08:30,710 --> 00:08:32,154
I AM A PHILATELIST.

203
00:08:32,178 --> 00:08:34,757
TO ASK WHAT THAT IS.
I COLLECT PHILATS.

204
00:08:34,781 --> 00:08:38,160
Narrator: SOON PAT McMAHON
TALKED HIS WAY ONTO THE SHOW,

205
00:08:38,184 --> 00:08:39,895
AND HE NEVER LEFT.

206
00:08:39,919 --> 00:08:41,864
OVER THE DECADES,
WALLACE WOULD CREATE DOZENS

207
00:08:41,888 --> 00:08:44,300
OF FUNNY AND IRREVERENT
CHARACTERS,

208
00:08:44,324 --> 00:08:47,003
AND PAT McMAHON WOULD
BRING THEM TO LIFE.

209
00:08:47,027 --> 00:08:51,941
NOW IT'S TIME FOR SOME OF MY
AWARD-WINNING CAPTIONS.

210
00:08:51,965 --> 00:08:56,245
A SUPERHERO ON
THE "WALLACE AND LADMO" SHOW

211
00:08:56,269 --> 00:09:01,650
NEED ONLY BE TWO THINGS...
NOT SUPER IN ANY WAY

212
00:09:01,674 --> 00:09:03,219
NOR A HERO.

213
00:09:03,243 --> 00:09:04,520
THE...

214
00:09:04,544 --> 00:09:07,156
SEE, I WAS GOING TO
ASK YOU ABOUT... THAT.

215
00:09:07,180 --> 00:09:09,225
I TOLD THE LAUNDRY
NO STARCH.

216
00:09:09,249 --> 00:09:11,527
McMahon: REMEMBER
CAPTAIN SUPER WORE A MASK

217
00:09:11,551 --> 00:09:12,561
THAT WAS COMPLETELY CUT OUT

218
00:09:12,585 --> 00:09:15,564
IN THE MIDDLE
SO THERE WAS NO CHANCE

219
00:09:15,588 --> 00:09:18,267
YOU WOULDN'T RECOGNIZE HIM?

220
00:09:19,459 --> 00:09:22,605
LET'S HAVE A BIG HAND
FOR BOFFO THE CLOWN.

221
00:09:23,230 --> 00:09:26,575
Narrator: LIKE MANY KIDS' SHOWS,
"WALLACE AND LADMO" HAD A CLOWN,

222
00:09:26,599 --> 00:09:29,845
BUT BOFFO DIDN'T FIT
THE USUAL CLOWN MOLD.

223
00:09:29,869 --> 00:09:33,249
THE CHARACTER'S ONLY
REAL MOTIVATION WAS MONEY.

224
00:09:33,273 --> 00:09:37,787
BOFFO, HOW DO YOU PERSONALLY
FEEL ABOUT THE KIDS?

225
00:09:37,811 --> 00:09:39,722
IT'S A BUCK.

226
00:09:41,081 --> 00:09:42,658
ANYBODY CALLS ME,
I'LL SHOW UP.

227
00:09:42,682 --> 00:09:43,627
THEY NEED A CLOWN,
I'M IT.

228
00:09:43,651 --> 00:09:45,194
WHAT ABOUT
THE BIRTHDAY PARTIES?

229
00:09:45,218 --> 00:09:46,796
HOW DO THEY WORK?

230
00:09:46,820 --> 00:09:47,497
YEAH, ACTUALLY,

231
00:09:47,521 --> 00:09:49,331
THAT'S WHERE
YOUR BIG BREAD IS.

232
00:09:49,355 --> 00:09:50,100
YOUR BIRTHDAY PARTIES,

233
00:09:50,124 --> 00:09:52,168
THAT'S WHERE YOU
PICK UP A LOT OF COIN.

234
00:09:52,192 --> 00:09:54,937
I DON'T THINK LAD
OR PAT OR I

235
00:09:54,961 --> 00:09:58,040
EVER THOUGHT
ANY CLOWN WAS FUNNY.

236
00:09:58,064 --> 00:10:02,411
AND SO OUR CLOWN WAS GOING TO BE
A LITTLE DIFFERENT...

237
00:10:02,435 --> 00:10:03,512
HE HATED KIDS.

238
00:10:03,536 --> 00:10:06,348
AS LONG AS THEY KEEP IT DOWN,
AS LONG AS THEY DON'T

239
00:10:06,372 --> 00:10:08,350
SCREAM AND YELL
AND LAUGH AND GIGGLE,

240
00:10:08,374 --> 00:10:10,319
'CAUSE THAT REALLY
FROSTS ME, MAN.

241
00:10:10,343 --> 00:10:11,720
I HAVE HAD IT
UP TO HERE.

242
00:10:11,744 --> 00:10:13,089
I GET, YOU KNOW,
A BUCK AND A HALF,

243
00:10:13,113 --> 00:10:14,990
$2 AN HOUR,
I'M NOT GOING TO PUT UP WITH

244
00:10:15,014 --> 00:10:16,525
A LOT OF JIBBER-JABBER,
YOU KNOW?

245
00:10:16,549 --> 00:10:18,327
I'LL BE THE CLOWN,
YOU BE THE KIDS,

246
00:10:18,351 --> 00:10:20,996
JUST SIT THERE AND SHUT
YOUR MOUTHS, THAT'S ALL.

247
00:10:21,020 --> 00:10:22,865
Narrator: ARIZONA'S
"WALLACE AND LADMO"

248
00:10:22,889 --> 00:10:24,100
SUCCEEDED BECAUSE
ITS HUMOR

249
00:10:24,124 --> 00:10:28,721
APPEALED TO TEENS AND ADULTS
AS WELL AS CHILDREN.

250
00:10:28,995 --> 00:10:31,874
OVER IN LOS ANGELES,
AN INNOVATIVE PUPPET SHOW

251
00:10:31,898 --> 00:10:33,943
WAS ATTRACTING
A SIMILAR AUDIENCE.

252
00:10:33,967 --> 00:10:36,512
HOW'D YOU LIKE TO BE
IN PICTURES,

253
00:10:36,536 --> 00:10:37,380
HAVE YOUR NAME UP IN LIGHTS,

254
00:10:37,404 --> 00:10:40,483
DRIVE A CAR WITH THE STEERING
WHEEL ON THE WRONG SIDE,

255
00:10:40,507 --> 00:10:43,119
WEAR CHARTREUSE
SUEDE WEDGES,

256
00:10:43,143 --> 00:10:46,689
ALL THE BETTER THINGS,
ALL THE BETTER THINGS?

257
00:10:46,713 --> 00:10:47,457
Freberg: IF YOU'D SAY,

258
00:10:47,481 --> 00:10:50,392
"WE'VE CREATED A SHOW THAT
WILL APPEAL TO CHILDREN

259
00:10:50,416 --> 00:10:53,896
AND ADULTS UP TO
DR. ALBERT EINSTEIN,"

260
00:10:53,920 --> 00:10:56,065
YOU KNOW, THEY'D SAY,
"CALL... SECURITY!"

261
00:10:56,089 --> 00:10:57,833
YOU KNOW, "GET THESE GUYS
OUT OF HERE."

262
00:10:57,857 --> 00:11:00,202
BUT ALL I KNOW IS,
THAT'S WHAT WORKED.

263
00:11:00,226 --> 00:11:02,104
YOU'RE NOT AS UGLY
AS YOU LOOK.

264
00:11:02,128 --> 00:11:03,739
OH, THANKS!

265
00:11:03,763 --> 00:11:06,164
HEH-HEH.

266
00:11:07,433 --> 00:11:09,211
Narrator: STARTING IN 1949,

267
00:11:09,235 --> 00:11:11,580
7 OUT OF 10
LOS ANGELES TV VIEWERS

268
00:11:11,604 --> 00:11:13,782
WOULD TUNE IN
TO THIS PROGRAM DAILY.

269
00:11:13,806 --> 00:11:16,385
NUMBERS HIGHER THAN
A MODERN SUPER BOWL,

270
00:11:16,409 --> 00:11:19,855
TO SEE A SHOW CALLED
"TIME FOR BEANY."

271
00:11:19,879 --> 00:11:23,092
SAY, YOU BOYS AIN'T SEEN
A BIG, GIANT,

272
00:11:23,116 --> 00:11:26,245
WHITE GORILLA AROUND,
HAVE YOU?

273
00:11:30,590 --> 00:11:31,234
WHAT DO YOU SAY?

274
00:11:31,258 --> 00:11:34,270
HEY, YOU DIDN'T
ANSWER THE QUESTION.

275
00:11:34,294 --> 00:11:35,353
HUH.

276
00:11:36,663 --> 00:11:39,408
Narrator: "TIME FOR BEANY"
FLOWED FROM THE FERTILE MINDS

277
00:11:39,432 --> 00:11:43,145
OF STAN FREBERG
AND DAWS BUTLER.

278
00:11:43,169 --> 00:11:44,914
YEARS LATER,
FREBERG WOULD CREATE

279
00:11:44,938 --> 00:11:47,449
THE FASTEST-SELLING
COMEDY RECORD OF ALL TIME

280
00:11:47,473 --> 00:11:48,651
AND A STRING OF
FUNNY COMMERCIALS

281
00:11:48,675 --> 00:11:52,755
THAT CHANGED THE DIRECTION
OF AMERICAN ADVERTISING.

282
00:11:52,779 --> 00:11:57,193
BUT BACK IN THE 1940s,
STAN FREBERG WAS AN UNKNOWN.

283
00:11:57,217 --> 00:12:00,496
HIS RISE TO FAME RANKS AMONG
THE MOST IMPROBABLE

284
00:12:00,520 --> 00:12:01,398
IN HOLLYWOOD HISTORY.

285
00:12:01,422 --> 00:12:02,965
I'M RIDING DOWN
HOLLYWOOD BOULEVARD

286
00:12:02,989 --> 00:12:05,167
AND I'M THE LAST
PERSON ON THE BUS,

287
00:12:05,191 --> 00:12:07,503
AND I SEE THE BUS DRIVER
LOOK IN THE MIRROR,

288
00:12:07,527 --> 00:12:08,604
THE REARVIEW MIRROR,
AND SAID,

289
00:12:08,628 --> 00:12:09,772
"WHERE DO YOU WANT TO
GET OFF, KID?"

290
00:12:09,796 --> 00:12:13,509
I SAID, "I WANT TO GET OFF IN
THE MIDDLE OF HOLLYWOOD!"

291
00:12:13,533 --> 00:12:15,377
<i>PSSSSSH,</i>
HITS THE BRAKES.

292
00:12:15,401 --> 00:12:17,213
I SAID, "IS THIS
THE MIDDLE OF HOLLYWOOD?"

293
00:12:17,237 --> 00:12:20,249
HE SAID, "KID, THIS IS
AS MIDDLE AS IT GETS."

294
00:12:20,273 --> 00:12:23,319
DOORS OPEN,
I GET OFF THE BUS.

295
00:12:23,343 --> 00:12:25,721
THERE'S A THREE-STORY
BUILDING THERE, OKAY?

296
00:12:25,745 --> 00:12:27,823
I WALK IN THE LOBBY,
I THOUGHT,

297
00:12:27,847 --> 00:12:30,359
"I WONDER IF THERE
POSSIBLY COULD BE

298
00:12:30,383 --> 00:12:32,061
A TALENT AGENT
IN THIS BUILDING."

299
00:12:32,085 --> 00:12:36,031
I WALK IN AND I SEE A CLEANERS,
INVISIBLE WEAVING,

300
00:12:36,055 --> 00:12:36,833
SECOND FLOOR,

301
00:12:36,857 --> 00:12:40,569
"STARS OF TOMORROW
TALENT AGENCY."

302
00:12:40,593 --> 00:12:41,971
I SAID, "THAT'S ME!"

303
00:12:41,995 --> 00:12:43,706
"STARS OF TOMORROW,"
THAT'S ME.

304
00:12:43,730 --> 00:12:45,674
SO I GET IN THIS
CREAKY ELEVATOR...

305
00:12:47,133 --> 00:12:49,193
GOING UP TO
THE SECOND FLOOR.

306
00:12:50,470 --> 00:12:52,848
NOW I WALK IN,
"STARS OF TOMORROW" ON THE DOOR,

307
00:12:52,872 --> 00:12:53,617
AND A LITTLE SHORT GUY

308
00:12:53,641 --> 00:12:56,952
WITH A CIGAR SAYS,
"YES, CAN WE HELP YOU?"

309
00:12:56,976 --> 00:12:58,053
I SAID, "YES"...

310
00:12:58,077 --> 00:13:00,489
"I'D LIKE TO SEE YOU ABOUT
SOME REPRESENTATION."

311
00:13:00,513 --> 00:13:02,191
HE SAID, "WELL,
WHAT DO YOU DO?"

312
00:13:02,215 --> 00:13:04,426
I SAID, "WELL, I DO
ALL KIND OF VOICES."

313
00:13:04,450 --> 00:13:06,528
"AND TH... TH... TH... TH...

314
00:13:06,552 --> 00:13:07,330
THAT'S ALL, FOLKS."

315
00:13:07,354 --> 00:13:08,764
HE SAYS,
"HOLD IT RIGHT THERE."

316
00:13:08,788 --> 00:13:09,832
WALKS INTO THE PHONE,

317
00:13:09,856 --> 00:13:11,767
CALLS A MAN
NAMED JOHN BURTON

318
00:13:11,791 --> 00:13:14,136
AT WARNER BROS. CARTOONS.

319
00:13:14,160 --> 00:13:14,771
SAYS, "YES, HI.

320
00:13:14,795 --> 00:13:17,439
"I'M BRINGING A TALENTED
YOUNG MAN OVER TO...

321
00:13:17,463 --> 00:13:20,676
"YOU HAVE TO HEAR HIM DO
THESE VARIOUS VOICES.

322
00:13:20,700 --> 00:13:22,211
"YES, I KNOW YOU HAVE MEL BLANC,

323
00:13:22,235 --> 00:13:24,480
"BUT MEL BLANC CAN'T DO ALL
THE VOICES IN THE WORLD.

324
00:13:24,504 --> 00:13:27,283
HIS NAME IS STAN FREBERG
AND I'M COMING RIGHT OVER."

325
00:13:27,307 --> 00:13:29,071
HUNG UP THE PHONE.

326
00:13:29,942 --> 00:13:32,121
SO I WAS SCARED TO DEATH,
YOU KNOW, 18 YEARS OLD.

327
00:13:32,145 --> 00:13:33,989
SO NOW JOHN BURTON SAYS,
"OKAY, THIS IS

328
00:13:34,013 --> 00:13:36,292
"A TALENTED YOUNG MAN
WE JUST DISCOVERED.

329
00:13:36,316 --> 00:13:37,626
GO AHEAD, STAN."

330
00:13:37,650 --> 00:13:38,694
SO NOW I START
TO DO THE VOICES.

331
00:13:38,718 --> 00:13:43,165
NOW, THE MINUTE THEY START
TO LAUGH, I KNOW I'M OKAY.

332
00:13:43,189 --> 00:13:44,800
FRITZ FRELENG
WALKS UP TO ME,

333
00:13:44,824 --> 00:13:47,202
A LITTLE GUY, AND HE SAYS,

334
00:13:47,226 --> 00:13:49,805
"WHY HAVEN'T WE HEARD
OF YOU BEFORE, STAN?"

335
00:13:49,829 --> 00:13:54,009
I SAID, "I DON'T KNOW,
I'VE BEEN AROUND, YOU KNOW."

336
00:13:54,033 --> 00:13:57,379
HE SAID, "OH, I DIDN'T MEAN THAT
THE WAY IT SOUNDED.

337
00:13:57,403 --> 00:14:01,135
I MEAN I'M SURE YOU DIDN'T
JUST GET OFF THE BUS."

338
00:14:02,542 --> 00:14:04,320
THAT'S A TRUE...
TRUE STORY.

339
00:14:04,344 --> 00:14:06,121
♪ AND A ROW-DODY-DODY
DOE-DODY-DODY ♪

340
00:14:06,145 --> 00:14:07,556
♪ SUNNY SIDE UP,
A DOE-DODY-DODY ♪

341
00:14:07,580 --> 00:14:11,126
Narrator: CARTOONS OF THE 1940s
WERE SEEN ONLY IN THEATERS.

342
00:14:11,150 --> 00:14:13,962
STAN FREBERG HADN'T THOUGHT
MUCH ABOUT TELEVISION.

343
00:14:13,986 --> 00:14:18,567
UNTIL A WARM EVENING IN 1949,

344
00:14:18,591 --> 00:14:20,569
WHEN VETERAN ANIMATOR
BOB CLAMPETT

345
00:14:20,593 --> 00:14:23,639
INVITED FREBERG OVER
TO HIS GARAGE.

346
00:14:23,663 --> 00:14:26,075
CLAMPETT EXPLAINED THAT
HE WANTED TO CREATE

347
00:14:26,099 --> 00:14:27,676
A PUPPET SHOW FOR TV.

348
00:14:27,700 --> 00:14:30,446
HE ASKED FREBERG
AND FELLOW ACTOR DAWS BUTLER

349
00:14:30,470 --> 00:14:32,448
IF THEY'D LIKE TO
DO THE VOICES.

350
00:14:32,472 --> 00:14:34,483
THEN CLAMPETT
SHOWED THE TWO ACTORS

351
00:14:34,507 --> 00:14:37,386
HIS MAKESHIFT PUPPET STUDIO.

352
00:14:37,410 --> 00:14:40,723
OUT IN THE GARAGE
BEHIND CLAMPETT'S HOUSE,

353
00:14:40,747 --> 00:14:45,260
OKAY, AND DAWS AND I SAID,
"WHERE ARE THE PUPPETEERS?"

354
00:14:45,284 --> 00:14:47,296
WE THOUGHT WE WERE JUST
GOING TO DO THE VOICES.

355
00:14:47,320 --> 00:14:50,099
AND CLAMPETT SAID TO US,
"YOU'RE THE PUPPETEERS."

356
00:14:50,123 --> 00:14:52,524
I SAID, "WE'RE THE PUPPETEERS?"

357
00:14:53,426 --> 00:14:57,573
I SAID TO DAWS, "IT'S CALLED
ON-THE-JOB TRAINING."

358
00:14:57,597 --> 00:14:59,241
Narrator: OVER
THE NEXT FEW WEEKS,

359
00:14:59,265 --> 00:15:00,909
EXECUTIVES FROM
FOUR TV STATIONS

360
00:15:00,933 --> 00:15:03,879
MADE THE PILGRIMAGE
TO BOB CLAMPETT'S GARAGE

361
00:15:03,903 --> 00:15:06,648
TO WATCH FREBERG AND BUTLER.

362
00:15:06,672 --> 00:15:11,687
LATE ON A FRIDAY NIGHT,
KTLA BOUGHT THE IDEA.

363
00:15:11,711 --> 00:15:15,290
Man: CECIL IS MAKING
THE TRANSFORMATION FROM HIS...

364
00:15:15,314 --> 00:15:17,459
Narrator: THREE DAYS LATER,
IT WAS ON THE AIR...

365
00:15:17,483 --> 00:15:20,829
Man: HE OUGHT TO BE APPEARING
ALMOST ANY MINUTE NOW.

366
00:15:20,853 --> 00:15:24,500
Narrator: THE PREMIER
OF "TIME FOR BEANY."

367
00:15:24,524 --> 00:15:25,168
HI, EVERYBODY.

368
00:15:25,192 --> 00:15:28,137
Narrator: "TIME FOR BEANY" AIRED
LIVE FIVE DAYS A WEEK

369
00:15:28,161 --> 00:15:30,305
FOR FIVE YEARS,
ESTABLISHING ITSELF

370
00:15:30,329 --> 00:15:33,509
AS THE MOST POPULAR CHILDREN'S
SHOW IN LOS ANGELES.

371
00:15:33,533 --> 00:15:37,346
ADULTS ENJOYED IT TOO,
INCLUDING THE SMARTEST MIND

372
00:15:37,370 --> 00:15:39,348
OF THE 20th CENTURY...

373
00:15:39,372 --> 00:15:40,482
ALBERT EINSTEIN.

374
00:15:40,506 --> 00:15:44,119
Freberg: ONE DAY HE STOOD UP
IN A MEETING AND SAID,

375
00:15:44,143 --> 00:15:47,389
"GENTLEMEN"... HE KEPT LOOKING
AT HIS POCKET WATCH,

376
00:15:47,413 --> 00:15:51,927
AND HE SAID, "GENTLEMEN,
YOU WILL HAVE TO EXCUSE ME.

377
00:15:51,951 --> 00:15:54,648
IT'S TIME FOR BEANY
AND CECIL."

378
00:15:59,192 --> 00:16:00,402
Narrator: ON THE OTHER SIDE
OF THE COUNTRY,

379
00:16:00,426 --> 00:16:04,573
A YOUNG TEENAGER WAS ENAMORED
WITH STAN FREBERG'S WORK...

380
00:16:04,597 --> 00:16:08,043
THE HUMOR, THE ATTITUDE,
THE EDGINESS.

381
00:16:08,067 --> 00:16:10,813
WHILE STILL IN HIGH SCHOOL,
HE BEGAN PERFORMING

382
00:16:10,837 --> 00:16:13,315
ON LOCAL TV SHOWS
IN WASHINGTON, D.C.,

383
00:16:13,339 --> 00:16:17,119
INCLUDING A KIDS' PROGRAM
HOSTED BY WILLARD SCOTT.

384
00:16:17,143 --> 00:16:18,921
Scott: I WAS FARMER WILLARD,

385
00:16:18,945 --> 00:16:21,290
AND THERE WAS A KID THERE
WHO WAS 16 YEARS OLD

386
00:16:21,314 --> 00:16:24,893
WHO'D BROUGHT A BAG,
LITERALLY LIKE A BURGLAR,

387
00:16:24,917 --> 00:16:26,628
SECOND-STORY BURGLAR'S BAG,

388
00:16:26,652 --> 00:16:30,599
OF LITTLE THINGS,
AND HE CALLED THEM "MUPPETS."

389
00:16:30,623 --> 00:16:33,569
AND THAT WAS THE FIRST SHOW
THAT JIM HENSON EVER DID.

390
00:16:33,593 --> 00:16:37,439
Narrator: JIM HENSON
AND HIS WIFE-TO-BE JANE

391
00:16:37,463 --> 00:16:40,776
SOON GOT THEIR OWN SHOW,
"SAM AND FRIENDS,"

392
00:16:40,800 --> 00:16:43,312
AIRING EVERY NIGHT
IN WASHINGTON, D.C.

393
00:16:43,336 --> 00:16:44,413
Announcer: "SAM AND FRIENDS!"

394
00:16:44,437 --> 00:16:47,115
THE PLATTER THEY'RE PLAYING
ON THIS TV SHOW

395
00:16:47,139 --> 00:16:49,151
SEEMS TO HAVE GOTTEN STUCK.

396
00:16:50,243 --> 00:16:53,922
MAYBE IF I JUST HIT
THE TELEVISION LIKE THIS...

397
00:16:56,549 --> 00:17:01,196
Narrator: TV PUPPETEERS USED
A TRADITIONAL PUPPET THEATER,

398
00:17:01,220 --> 00:17:04,633
BUT HENSON WAS AMONG
THE FIRST TO UNDERSTAND

399
00:17:04,657 --> 00:17:06,068
THE POTENTIAL OF THE NEW MEDIUM.

400
00:17:06,092 --> 00:17:10,305
THE TV FRAME WAS HIS STAGE,
WHICH MEANT PUPPETS COULD

401
00:17:10,329 --> 00:17:12,875
MOVE IN WAYS
THEY NEVER HAD BEFORE.

402
00:17:12,899 --> 00:17:16,011
SOME OF US ARE
ABSOLUTELY ADORABLE.

403
00:17:16,035 --> 00:17:19,597
SOME OF US ARE UGLY,
AND WE LIKE IT THAT WAY.

404
00:17:20,606 --> 00:17:23,752
Narrator: HENSON'S INNOVATIONS
DIDN'T END THERE.

405
00:17:23,776 --> 00:17:26,288
HE USED SOFT MATERIALS
SO THAT HIS CHARACTERS

406
00:17:26,312 --> 00:17:27,322
COULD BE MORE EXPRESSIVE,

407
00:17:27,346 --> 00:17:30,025
HE ADDED CONTROL RODS
RATHER THAN STRINGS

408
00:17:30,049 --> 00:17:33,996
FOR MORE PRECISE MOVEMENT,
AND HE EXTENDED HIS PUPPETRY

409
00:17:34,020 --> 00:17:37,165
TO INCLUDE
LIFE-SIZED CHARACTERS.

410
00:17:37,189 --> 00:17:39,067
GRADUALLY HIS
CHARACTERS EVOLVED,

411
00:17:39,091 --> 00:17:42,838
FROM SAM TO ROWLF
TO HIS TRADEMARK,

412
00:17:42,862 --> 00:17:44,273
KERMIT THE FROG.

413
00:17:44,297 --> 00:17:46,808
Scott: AND THEY ALL REALLY WERE
A LITTLE PART OF JIM,

414
00:17:46,832 --> 00:17:50,412
'CAUSE KERMIT
REALLY IS JIM HENSON.

415
00:17:50,436 --> 00:17:54,149
KERMIT WAS HIS SOUL,
HIS SPIRIT, HIS LOVE.

416
00:17:54,173 --> 00:17:56,618
HE WAS JUST A GENTLE SOUL.

417
00:17:56,642 --> 00:17:57,920
I WANT THE CHEAP STUFF!

418
00:17:57,944 --> 00:17:58,688
<i>CHEAP, CHEAP, CHEAP!</i>

419
00:17:58,712 --> 00:18:00,822
SORRY, BUT THAT OTHER COFFEE'S
FOR THE BIRDS.

420
00:18:00,846 --> 00:18:02,391
Narrator: THROUGHOUT
THE '50s AND '60s,

421
00:18:02,415 --> 00:18:05,283
JIM HENSON MADE
A GOOD LIVING IN PUPPETRY...

422
00:18:05,618 --> 00:18:07,362
PRIMARILY THROUGH COMMERCIALS.

423
00:18:07,386 --> 00:18:08,697
WANT A CUP OF
WILKINS COFFEE?

424
00:18:08,721 --> 00:18:11,166
WHAT'LL MR. WILKINS DO
IF I DON'T?

425
00:18:11,190 --> 00:18:14,126
OH, HE'LL PROBABLY
PUT HIS FOOT DOWN.

426
00:18:15,294 --> 00:18:17,973
Narrator: IN THE LATE 1960s,
PUBLIC TELEVISION PRODUCER

427
00:18:17,997 --> 00:18:22,044
JOAN GANZ COONEY WAS
LOOKING FOR A PUPPETEER

428
00:18:22,068 --> 00:18:24,046
FOR A NEW SERIES
SHE WAS DEVELOPING

429
00:18:24,070 --> 00:18:27,816
CALLED "THE PRESCHOOL EDUCATION
TELEVISION SHOW."

430
00:18:27,840 --> 00:18:29,985
AN ASSOCIATE MADE A SUGGESTION.

431
00:18:30,009 --> 00:18:31,720
SHE CALLED AND SAID,
"YOU'VE GOT TO GO TO

432
00:18:31,744 --> 00:18:33,922
"THE JOHNNY VICTOR THEATER
AND SEE A SCREENING

433
00:18:33,946 --> 00:18:37,893
OF A REEL OF COMMERCIALS
BY SOMEONE NAMED JIM HENSON."

434
00:18:37,917 --> 00:18:39,895
AND I WENT AND I REMEMBER
JUST FALLING IN...

435
00:18:39,919 --> 00:18:42,464
ALMOST FALLING IN THE AISLE
LAUGHING AT THESE

436
00:18:42,488 --> 00:18:45,968
CHINESE FOOD COMMERCIALS
AND WONDER BREAD COMMERCIALS

437
00:18:45,992 --> 00:18:47,803
AND SO ON THAT HE HAD DONE.

438
00:18:47,827 --> 00:18:49,171
HERE, HOLD THIS.

439
00:18:49,195 --> 00:18:51,340
OH, BOY,
HE'S A HOT SALESMAN.

440
00:18:51,364 --> 00:18:54,276
Narrator: COONEY ASKED HENSON
IF HE WOULD CREATE

441
00:18:54,300 --> 00:18:55,711
THE PUPPETS FOR
HER NEW SERIES

442
00:18:55,735 --> 00:18:58,647
WHICH WOULD SOON HAVE
A MUCH CATCHIER NAME...

443
00:18:58,671 --> 00:19:00,749
"SESAME STREET."

444
00:19:00,773 --> 00:19:04,620
BUT JIM HENSON
WAS NOT INTERESTED.

445
00:19:04,644 --> 00:19:05,954
NOT AT FIRST.

446
00:19:05,978 --> 00:19:08,457
HE SAW PUPPETRY
AS AN ART FORM

447
00:19:08,481 --> 00:19:10,292
THAT TAPPED
ADULT SENSIBILITIES.

448
00:19:10,316 --> 00:19:13,762
REACHING CHILDREN
WAS FAR OFF HIS RADAR.

449
00:19:13,786 --> 00:19:17,099
IN TIME, HE CAME TO SEE
THE UNIQUE VALUE

450
00:19:17,123 --> 00:19:18,734
OF THE "SESAME STREET" PROJECT,

451
00:19:18,758 --> 00:19:22,337
AND HE GOT ONBOARD
WHOLEHEARTEDLY.

452
00:19:22,361 --> 00:19:25,807
I CALL MY BATHTUB "ROSIE."

453
00:19:26,466 --> 00:19:30,779
ERNIE, WHY DO YOU CALL
YOUR BATHTUB "ROSIE"?

454
00:19:30,803 --> 00:19:31,381
WHAT'S THAT?

455
00:19:31,405 --> 00:19:35,217
I SAID, WHY DO YOU CALL
YOUR BATHTUB "ROSIE"?

456
00:19:35,241 --> 00:19:36,885
BECAUSE EVERY TIME
I TAKE A BATH,

457
00:19:36,909 --> 00:19:39,488
I LIVE A RING AROUND ROSIE.

458
00:19:43,049 --> 00:19:46,495
Narrator: JIM HENSON'S ABILITY
TO ENGAGE CHILDREN AND ADULTS

459
00:19:46,519 --> 00:19:49,064
WAS PITCH-PERFECT
FOR "SESAME STREET."

460
00:19:49,088 --> 00:19:51,533
THE SERIES WENT ON TO BECOME
THE MOST INNOVATIVE

461
00:19:51,557 --> 00:19:55,103
AND SUCCESSFUL NATIONAL
CHILDREN'S PROGRAM

462
00:19:55,127 --> 00:19:57,472
OF ALL TIME.

463
00:19:57,496 --> 00:19:58,874
A WIDE RANGE
OF GIFTED PEOPLE

464
00:19:58,898 --> 00:20:01,510
SHARE CREDIT FOR
"SESAME STREET'S" SUCCESS,

465
00:20:01,534 --> 00:20:04,246
BUT JIM HENSON'S CHARACTERS
WERE PIVOTAL...

466
00:20:04,270 --> 00:20:09,418
CHARACTERS THAT MADE THEIR DEBUT
ON A LOCAL TV SHOW

467
00:20:09,442 --> 00:20:11,877
IN WASHINGTON, D.C.

468
00:20:12,278 --> 00:20:14,289
JIM HENSON'S HIP,
FAST-PACED STYLE

469
00:20:14,313 --> 00:20:17,459
WAS A SHARP CONTRAST TO ANOTHER
LOCAL TV PUPPETEER

470
00:20:17,483 --> 00:20:20,462
WHO WOULD ALSO GO ON TO BECOME
A NATIONAL STAR...

471
00:20:20,486 --> 00:20:24,232
AMERICA'S FAVORITE NEIGHBOR,
FRED ROGERS.

472
00:20:24,256 --> 00:20:27,402
♪ IT'S A BEAUTIFUL DAY
IN THIS NEIGHBORHOOD ♪

473
00:20:27,426 --> 00:20:29,404
♪ A BEAUTIFUL DAY
FOR A NEIGHBOR ♪

474
00:20:29,428 --> 00:20:31,673
♪ WOULD YOU BE MINE? ♪

475
00:20:31,697 --> 00:20:33,642
♪ COULD YOU BE MINE? ♪

476
00:20:33,666 --> 00:20:34,444
♪ IT'S A NEIGHBORLY... ♪

477
00:20:34,468 --> 00:20:37,746
Narrator: FRED ROGERS ORIGINALLY
PLANNED TO BECOME A MINISTER,

478
00:20:37,770 --> 00:20:39,648
BUT THE FIRST TIME
HE SAW A TV,

479
00:20:39,672 --> 00:20:41,683
HIS LIFE CHANGED COURSE.

480
00:20:41,707 --> 00:20:46,488
I SAW THIS NEW THING
CALLED TELEVISION,

481
00:20:46,512 --> 00:20:53,261
AND I SAW PEOPLE THROWING PIES
IN EACH OTHER'S FACES,

482
00:20:53,285 --> 00:20:54,663
AND I THOUGHT,

483
00:20:54,687 --> 00:21:00,669
"THIS COULD BE A WONDERFUL
TOOL FOR EDUCATION.

484
00:21:00,693 --> 00:21:02,704
WHY IS IT BEING
USED THIS WAY?"

485
00:21:02,728 --> 00:21:04,806
IT REALLY DOESN'T...
REALLY DOESN'T MATTER,

486
00:21:04,830 --> 00:21:06,641
'CAUSE THEY'RE NOT
GOING TO SEE JUST...

487
00:21:06,665 --> 00:21:07,676
WE'LL JUST CUT IN
ON THAT...

488
00:21:07,700 --> 00:21:09,511
Narrator: EARLY ON,
ROGERS GOT A JOB

489
00:21:09,535 --> 00:21:11,546
ON A LOCAL KIDS' SHOW
IN PITTSBURGH.

490
00:21:11,570 --> 00:21:12,248
HE WASN'T ON-CAMERA,

491
00:21:12,272 --> 00:21:15,383
BUT HE DID NEARLY
EVERYTHING ELSE ON THE SHOW

492
00:21:15,407 --> 00:21:17,552
CALLED "CHILDREN'S CORNER."

493
00:21:17,576 --> 00:21:21,289
AND THAT'S WHY I STARTED
WEARING TENNIS SHOES,

494
00:21:21,313 --> 00:21:23,024
THOSE SNEAKERS,

495
00:21:23,048 --> 00:21:24,593
BECAUSE I DIDN'T
WANT TO MAKE NOISE

496
00:21:24,617 --> 00:21:28,263
AS I WOULD RUN
ACROSS THE STUDIO.

497
00:21:28,287 --> 00:21:32,300
SO I WAS ALWAYS
IN THOSE SNEAKERS.

498
00:21:33,459 --> 00:21:35,137
Narrator: ALTHOUGH ROGERS'S FACE

499
00:21:35,161 --> 00:21:37,038
WAS NEVER SEEN ON
"CHILDREN'S CORNER,"

500
00:21:37,062 --> 00:21:39,241
HE DID VOICE ALL THE PUPPETS,

501
00:21:39,265 --> 00:21:41,810
INCLUDING KING FRIDAY.

502
00:21:41,834 --> 00:21:43,211
ROW, ROW, ROW YOUR BOAT?

503
00:21:43,235 --> 00:21:44,212
MM-HMM.
OH, YOU MUST MEAN...

504
00:21:44,236 --> 00:21:46,915
♪ ROW, ROW, ROW YOUR BOAT
GENTLY DOWN THE STREAM ♪

505
00:21:46,939 --> 00:21:48,683
OH, YEAH, I THOUGHT
YOU MUST MEAN

506
00:21:48,707 --> 00:21:52,120
PROPEL, PROPEL,
PROPEL YOUR CRAFT.

507
00:21:52,144 --> 00:21:53,622
YES, I GUESS THAT'S
WHAT I MEAN, SURE.

508
00:21:53,646 --> 00:21:56,291
IT'S, ♪ PROPEL, PROPEL,
PROPEL YOUR CRAFT ♪

509
00:21:56,315 --> 00:21:57,859
♪ GENTLY DOWN
LIQUID SOLUTION ♪

510
00:21:57,883 --> 00:22:00,996
♪ ECSTATICALLY, ECSTATICALLY,
ECSTATICALLY, ECSTATICALLY ♪

511
00:22:01,020 --> 00:22:02,898
♪ EXISTENCE IS
BUT AN ILLUSION ♪

512
00:22:02,922 --> 00:22:07,035
Narrator: BY THE EARLY 1960s,
ROGERS GOT HIS OWN SHOW.

513
00:22:07,059 --> 00:22:09,404
THIS TIME HE WAS
IN FRONT OF THE CAMERA

514
00:22:09,428 --> 00:22:12,507
AS HIMSELF,
A CARING, REASSURING VOICE,

515
00:22:12,531 --> 00:22:15,744
THE POLAR OPPOSITE OF NEARLY
EVERYTHING ELSE IN TV.

516
00:22:15,768 --> 00:22:19,781
HE STAYED ON FOR MORE
THAN 30 YEARS.

517
00:22:19,805 --> 00:22:22,884
♪ IT'S A BEAUTIFUL DAY IN
THIS NEIGHBORHOOD ♪

518
00:22:22,908 --> 00:22:24,286
♪ A BEAUTIFUL DAY
FOR A NEIGHBOR ♪

519
00:22:24,310 --> 00:22:28,023
Rogers: I'D JUST LIKE TO BE
REMEMBERED FOR BEING A...

520
00:22:28,047 --> 00:22:31,359
COMPASSIONATE HUMAN BEING

521
00:22:31,383 --> 00:22:33,728
WHO HAPPENED TO BE
FORTUNATE ENOUGH

522
00:22:33,752 --> 00:22:36,665
TO BE BORN AT A TIME
WHEN THERE WAS THIS

523
00:22:36,689 --> 00:22:41,718
FABULOUS THING
CALLED TELEVISION.

524
00:22:43,963 --> 00:22:46,007
Narrator: IN THE 1950s
AND '60s,

525
00:22:46,031 --> 00:22:49,110
NEARLY EVERY LOCAL
KIDS' TV SHOW HAD PUPPETS.

526
00:22:49,134 --> 00:22:52,781
PUPPETS WERE VERY SUCCESSFUL
IN THOSE DAYS.

527
00:22:52,805 --> 00:22:55,483
PUPPETS REALLY
LAUNCHED TELEVISION.

528
00:22:55,507 --> 00:22:59,387
Narrator: IN NEW YORK,
CHUCK McCANN REACHED AN AUDIENCE

529
00:22:59,411 --> 00:23:01,756
THAT DWARFED MOST OTHER
LOCAL KIDS' SHOWS,

530
00:23:01,780 --> 00:23:07,329
STARTING WITH A SERIES
CALLED "PUPPET HOTEL" IN 1960.

531
00:23:07,353 --> 00:23:12,734
PUPPETS WORK FROM A HAND
DOWN TO A HEART.

532
00:23:12,758 --> 00:23:15,003
THERE'S A BIG,
BIG DIFFERENCE.

533
00:23:15,027 --> 00:23:18,240
THERE'S A REALITY
THAT COMES OUT OF THIS,

534
00:23:18,264 --> 00:23:21,843
AND IT'S BEAUTIFUL TO WATCH
WHEN YOU SEE SOMEBODY

535
00:23:21,867 --> 00:23:26,202
WHO KNOWS WHAT THEY'RE DOING
WORKING PUPPETS.

536
00:23:27,206 --> 00:23:29,851
Narrator: OVER THE NEXT DECADE,
McCANN EXPANDED HIS COMEDY

537
00:23:29,875 --> 00:23:33,255
TO INCLUDE A WIDE RANGE
OF CHARACTERS AND SKITS.

538
00:23:35,514 --> 00:23:38,827
BECAUSE DAYTIME TV
WAS CONSIDERED UNPROFITABLE,

539
00:23:38,851 --> 00:23:40,562
McCANN WAS GIVEN FREE REIN.

540
00:23:42,154 --> 00:23:44,299
AND HE TOOK FULL ADVANTAGE
OF ONE OF TV'S

541
00:23:44,323 --> 00:23:48,837
MOST WIDE-OPEN,
CREATIVE ARENAS.

542
00:23:48,861 --> 00:23:50,171
HI, FRIENDS.

543
00:23:50,195 --> 00:23:51,840
THANK YOU, THANK YOU,
THANK YOU.

544
00:23:51,864 --> 00:23:55,944
HI, ONCE AGAIN, TO SEE DINKY
AND DUNKY, YES, SIR.

545
00:23:55,968 --> 00:23:57,245
McCann: I USED TO GET UP
IN THE MORNING,

546
00:23:57,269 --> 00:24:00,782
AND I WALKED TO THE STUDIO NOT
KNOWING WHAT I WAS GOING TO DO.

547
00:24:00,806 --> 00:24:03,318
HOW ARE YOU DOING,
DINKY?

548
00:24:03,342 --> 00:24:05,854
GOOD, WHERE'S DUNKY?

549
00:24:08,981 --> 00:24:10,158
RIGHT HERE.

550
00:24:11,216 --> 00:24:13,194
I WENT TO THE SALVATION ARMY

551
00:24:13,218 --> 00:24:15,964
AND I PULLED ALL MY COSTUMES
OUT OF THERE,

552
00:24:15,988 --> 00:24:18,967
AND I USED TO GO
INTO THE GARBAGE

553
00:24:18,991 --> 00:24:21,836
ON PARK AVENUE ON THURSDAY
WHEN THEY REMOVED IT

554
00:24:21,860 --> 00:24:24,172
AND I'D FIND, YOU KNOW,
HAIR DRYERS AND STUFF,

555
00:24:24,196 --> 00:24:26,608
AND I'D SAY, "HEY,
I COULD DO A THING WITH THIS."

556
00:24:26,632 --> 00:24:29,911
Narrator: LIKE MANY OTHER
SUCCESSFUL KIDS' HOSTS,

557
00:24:29,935 --> 00:24:36,051
CHUCK McCANN DIDN'T NECESSARILY
AIM HIS SHOWS AT CHILDREN.

558
00:24:36,876 --> 00:24:40,422
I JUST WENT IN AND DID
WHAT I THOUGHT WAS FUNNY.

559
00:24:42,715 --> 00:24:44,592
WITH KIDS,
WHEN YOU DO A KIDS' SHOW,

560
00:24:44,616 --> 00:24:46,828
YOU DON'T WANT
TO TALK DOWN TO THEM,

561
00:24:46,852 --> 00:24:49,097
AND I... I NEVER...
I NEVER...

562
00:24:49,121 --> 00:24:52,233
NEVER WANTED TO DO THAT.

563
00:24:52,257 --> 00:24:56,304
I ALWAYS FELT THAT IF I
DID WHAT WAS FUNNY,

564
00:24:56,328 --> 00:24:58,740
THE KIDS WOULD SENSE THAT.

565
00:24:58,764 --> 00:25:00,742
♪ HERE AND I'M ♪

566
00:25:00,766 --> 00:25:02,444
♪ FINE AND DANDY ♪

567
00:25:02,468 --> 00:25:04,279
YOU DON'T MIND IF I
HAVE MY LUNCH?

568
00:25:04,303 --> 00:25:05,480
NO... ALL RIGHT.

569
00:25:05,504 --> 00:25:07,549
♪ I'M FINE AND DANDY ♪

570
00:25:07,573 --> 00:25:11,653
♪ FINE AND DANDY,
I'M FINE AND DANDY ♪

571
00:25:11,677 --> 00:25:13,488
♪ AND I LOVE YOU ♪

572
00:25:13,512 --> 00:25:16,324
♪ OH... MMM ♪

573
00:25:16,348 --> 00:25:18,760
♪ MMM MMM MMM ♪

574
00:25:18,784 --> 00:25:23,131
♪ FINE AND DANDY ♪

575
00:25:23,155 --> 00:25:24,332
♪ FINE AND DANDY ♪

576
00:25:24,356 --> 00:25:28,336
Narrator: BY 1969,
CHUCK McCANN HAD LEFT

577
00:25:28,360 --> 00:25:29,671
HIS NEW YORK CHILDREN'S SHOW

578
00:25:29,695 --> 00:25:32,774
TO EMBARK ON AN ACTING
CAREER IN HOLLYWOOD.

579
00:25:32,798 --> 00:25:34,609
THE TRANSITION FROM LOCAL
CHILDREN'S HOST

580
00:25:34,633 --> 00:25:37,479
TO NATIONAL CELEBRITY
WAS NOT UNCOMMON.

581
00:25:37,503 --> 00:25:41,182
DOZENS OF OTHER WELL-KNOWN STARS
CAN TRACE THEIR ROOTS

582
00:25:41,206 --> 00:25:42,550
TO KIDS' TV SHOWS.

583
00:25:42,574 --> 00:25:46,621
MERV GRIFFIN HOSTED MIAMI'S
"LUCKY DUCK SHOW."

584
00:25:46,645 --> 00:25:49,457
TED KNIGHT STARRED ON
"CHILDREN'S THEATER"

585
00:25:49,481 --> 00:25:51,526
IN PROVIDENCE, RHODE ISLAND.

586
00:25:51,550 --> 00:25:53,395
"THE SOUPY SALES SHOW"
BEGAN IN DETROIT

587
00:25:53,419 --> 00:25:55,397
AND EVENTUALLY WENT NATIONAL.

588
00:25:55,421 --> 00:26:00,035
ADAM WEST GOT HIS START ON
"THE KINI POPO SHOW" IN HAWAII.

589
00:26:00,059 --> 00:26:01,336
"THE KINI POPO SHOW,"

590
00:26:01,360 --> 00:26:03,872
WHICH MEANS IN HAWAIIAN
"ON THE BALL,"

591
00:26:03,896 --> 00:26:08,109
AND THAT WAS MY EXPOSURE
TO DOING A KIDS' SHOW.

592
00:26:08,133 --> 00:26:10,779
WE DID EVERYTHING WE COULD
TO ENTERTAIN PEOPLE

593
00:26:10,803 --> 00:26:12,747
EARLY IN THE MORNING
FOR ABOUT...

594
00:26:12,771 --> 00:26:13,982
I THINK IT WAS
A TWO-HOUR SHOW,

595
00:26:14,006 --> 00:26:19,387
AND, YOU KNOW, THAT MEANS YOU
HAVE A CHIMPANZEE AS A SIDEKICK.

596
00:26:19,411 --> 00:26:23,558
Narrator: WILLARD SCOTT HOSTED
THREE DIFFERENT KIDS' SHOWS

597
00:26:23,582 --> 00:26:24,626
IN WASHINGTON, D.C.

598
00:26:24,650 --> 00:26:28,129
THE WORST SHOW I EVER DID
IN MY LIFE, IN MY OPINION,

599
00:26:28,153 --> 00:26:29,831
WAS THE BEST SHOW
I EVER DID IN MY LIFE.

600
00:26:29,855 --> 00:26:33,601
WE HAD MORE FUN,
IT WAS CALLED "COMMANDER RETRO,"

601
00:26:33,625 --> 00:26:37,539
AND I USED MY BASSET HOUND,
HE WAS DR. STRANGEDOG.

602
00:26:37,563 --> 00:26:40,942
WE'D TAKE
A FIRE EXTINGUISHER

603
00:26:40,966 --> 00:26:43,211
AND SHOOT IT OFF
IN FRONT OF THE LENS

604
00:26:43,235 --> 00:26:45,013
TO MAKE IT LOOK LIKE
A ROCKET ENGINE,

605
00:26:45,037 --> 00:26:47,382
AND THEN AS THAT
THING CLEARED UP,

606
00:26:47,406 --> 00:26:50,585
YOU SAW THE MOON'S SURFACE
COME TO...

607
00:26:50,609 --> 00:26:52,887
AND WE WOULD JUST ALL
RAISE IT UP OFF THE FLOOR,

608
00:26:52,911 --> 00:26:54,522
BUT IT LOOKED LIKE
WE WERE LANDING.

609
00:26:54,546 --> 00:26:56,524
AND OF COURSE YOU'D
SEE CHARLIE...

610
00:26:56,548 --> 00:26:58,993
ONE OF THE STAGEHANDS
WAS HANGING ON TO IT.

611
00:26:59,017 --> 00:27:02,163
Narrator: WHILE MANY PERFORMERS
LEARNED THEIR CRAFT

612
00:27:02,187 --> 00:27:04,899
ON CHILDREN'S SHOWS
AND THEN MOVED ON,

613
00:27:04,923 --> 00:27:07,902
OTHERS MADE
THE DECISION TO STAY.

614
00:27:07,926 --> 00:27:10,171
IN PHOENIX, THE STARS OF
THE POPULAR

615
00:27:10,195 --> 00:27:14,656
"WALLACE AND LADMO SHOW"
FACED A KEY DECISION IN 1963...

616
00:27:14,766 --> 00:27:17,445
WHEN ONE OF THE SHOW'S STARS,
PAT McMAHON,

617
00:27:17,469 --> 00:27:19,714
DID A SKIT,
A PARODY OF THE BEATLES,

618
00:27:19,738 --> 00:27:21,583
THAT WAS JUST
A LITTLE TOO GOOD.

619
00:27:21,607 --> 00:27:24,252
♪ WELL, I GOT A GIRL
NAMED BONEY MARONEY ♪

620
00:27:24,276 --> 00:27:26,855
♪ BOP SHOO BOP SHOO BOP BOP
SHOO BOP ♪

621
00:27:26,879 --> 00:27:29,491
Narrator:
CALLED "HUB CAP and THE WHEELS,"

622
00:27:29,515 --> 00:27:30,692
PAT McMAHON'S JOKE BAND

623
00:27:30,716 --> 00:27:32,594
ACTUALLY SCORED
A REAL HIT RECORD.

624
00:27:32,618 --> 00:27:35,630
♪ YOU OUGHTTA SEE HER ROCK
WITH HER BLUE JEANS ON ♪

625
00:27:35,654 --> 00:27:37,165
McMahon: AND IT
BEAT THE BEATLES

626
00:27:37,189 --> 00:27:38,266
ON THE LOCAL CHARTS.

627
00:27:38,290 --> 00:27:41,503
IT WAS THE FIRST TIME THAT
ANYBODY HAD BEEN AT NUMBER ONE

628
00:27:41,527 --> 00:27:45,874
IN THAT PERIOD OF TIME
EXCEPT THE BEATLES.

629
00:27:45,898 --> 00:27:49,164
WELL, WE HAD NO IDEA
WHAT TO DO WITH THAT.

630
00:27:52,037 --> 00:27:53,748
Narrator: SOON,
HUB CAP and THE WHEELS

631
00:27:53,772 --> 00:27:55,250
WERE MAKING NATIONAL
TV APPEARANCES.

632
00:27:55,274 --> 00:27:58,520
CAPITOL RECORDS SIGNED THEM
TO A RECORDING CONTRACT.

633
00:27:58,544 --> 00:28:00,321
A MOVIE WAS PLANNED.

634
00:28:00,345 --> 00:28:02,590
PAT McMAHON
HAD A CHOICE TO MAKE...

635
00:28:02,614 --> 00:28:03,958
TEEN HEARTTHROB IN HOLLYWOOD

636
00:28:03,982 --> 00:28:06,094
OR BACK TO THE KIDS' SHOW
IN PHOENIX.

637
00:28:06,118 --> 00:28:09,464
♪ WHEN I SAY THAT DIRTY WORD ♪

638
00:28:09,488 --> 00:28:14,569
AND IT WAS SO TOTALLY SURREAL
THAT WE SAID,

639
00:28:14,593 --> 00:28:18,540
"OKAY, WAIT A MINUTE,
GUYS, WHAT DO YOU WANT TO DO?

640
00:28:18,564 --> 00:28:21,709
"DO YOU WANT TO BE
45-YEAR-OLD WHEELS,

641
00:28:21,733 --> 00:28:23,511
OR DO YOU WANT TO DO
'THE WALLACE SHOW'?"

642
00:28:23,535 --> 00:28:25,046
AND WE JUST LOVED
DOING THE SHOW.

643
00:28:25,070 --> 00:28:28,049
WE JUST LOVED DOING
"THE WALLACE AND LADMO SHOW,"

644
00:28:28,073 --> 00:28:29,951
SO THEY LET US OUT
OF OUR CONTRACT.

645
00:28:29,975 --> 00:28:33,054
Narrator: McMAHON RETURNED
TO PHOENIX,

646
00:28:33,078 --> 00:28:35,557
AND "THE WALLACE AND LADMO SHOW"
WOULD SETTLE INTO

647
00:28:35,581 --> 00:28:38,293
A DECADES-LONG REIGN AS ONE OF
THE MOST BELOVED

648
00:28:38,317 --> 00:28:40,695
LOCAL KIDS' PROGRAMS ANYWHERE.

649
00:28:40,719 --> 00:28:43,531
ANYONE WHO GREW UP
IN PHOENIX LIKE ME

650
00:28:43,555 --> 00:28:47,802
CAME HOME FROM SCHOOL, 4:00,
YOU GOT A LITTLE SNACK,

651
00:28:47,826 --> 00:28:48,637
CLICKED ON THE TV,

652
00:28:48,661 --> 00:28:50,838
AND YOU WATCHED
"WALLACE AND LADMO."

653
00:28:50,862 --> 00:28:53,541
I LIVED IN PHOENIX, ARIZONA
FOR OVER A DECADE,

654
00:28:53,565 --> 00:28:56,544
AND I WATCHED THEM EVERY DAY,
AND EVEN WHEN I GREW UP

655
00:28:56,568 --> 00:28:58,646
AND I WAS SUPPOSED TO BE
TOO OLD TO WATCH THEM,

656
00:28:58,670 --> 00:29:01,115
I STILL WATCHED THEM,
BECAUSE THEY WERE VERY HIP.

657
00:29:01,139 --> 00:29:03,084
THEY ALWAYS KEPT
ABREAST OF THE TIMES

658
00:29:03,108 --> 00:29:03,886
AND THEY WERE VERY HIP.

659
00:29:03,910 --> 00:29:05,520
THEY WERE
THE "SATURDAY NIGHT LIVE"

660
00:29:05,544 --> 00:29:06,521
BEFORE "SATURDAY NIGHT LIVE."

661
00:29:06,545 --> 00:29:09,606
THEY WERE THE "SECOND CITY"
BEFORE "SECOND CITY."

662
00:29:10,315 --> 00:29:10,960
LADMO FLAKES!

663
00:29:10,984 --> 00:29:13,928
THE BREAKFAST CEREAL
FOR KIDS WHO DON'T

664
00:29:13,952 --> 00:29:17,298
LIKE CEREAL,
AND THAT'S THE AMAZING PART...

665
00:29:17,322 --> 00:29:19,834
THERE'S NO CEREAL AT ALL
IN THE BOX!

666
00:29:19,858 --> 00:29:22,570
EACH AND EVERY PACKAGE
OF LADMO FLAKES

667
00:29:22,594 --> 00:29:24,639
IS FILLED TO THE BRIM WITH...

668
00:29:24,663 --> 00:29:26,741
♪ DA DA DA DA DA DUM! ♪

669
00:29:26,765 --> 00:29:27,543
PRIZES,

670
00:29:27,567 --> 00:29:30,730
TOYS, PREMIUMS! IMAGINE!

671
00:29:32,304 --> 00:29:33,514
Narrator: THE SHOW
WAS SO POPULAR,

672
00:29:33,538 --> 00:29:36,551
IT EVEN SPAWNED A CHAIN OF
DRIVE-IN RESTAURANTS.

673
00:29:36,575 --> 00:29:38,086
THE IDEA MADE SENSE...

674
00:29:38,110 --> 00:29:41,623
BOTH FAST FOOD
AND KIDS' TV WERE BOOMING.

675
00:29:41,647 --> 00:29:45,593
IN THE MID-1950s,
FAST FOOD FRANCHISES

676
00:29:45,617 --> 00:29:46,362
BEGAN TO TAKE HOLD.

677
00:29:46,386 --> 00:29:50,131
IN RETROSPECT, THE CONCEPT
SEEMS REMARKABLY SIMPLE...

678
00:29:50,155 --> 00:29:52,200
A SUCCESS IN ONE CITY
HAS A GOOD CHANCE

679
00:29:52,224 --> 00:29:54,056
OF SUCCEEDING
IN EVERY CITY.

680
00:29:54,226 --> 00:29:57,939
AS HAMBURGER STANDS BEGAN
SPROUTING UP AROUND THE COUNTRY,

681
00:29:57,963 --> 00:30:00,942
A FEW ENTERPRISING TV PRODUCERS
THOUGHT FRANCHISING

682
00:30:00,966 --> 00:30:04,459
MIGHT ALSO WORK IN
CHILDREN'S TELEVISION.

683
00:30:05,871 --> 00:30:08,383
THE FIRST PERSON TO PUT
A PLAN INTO ACTION

684
00:30:08,407 --> 00:30:12,020
WAS NANCY CLASTER,
WHO, WITH HER HUSBAND BURT,

685
00:30:12,044 --> 00:30:13,721
CREATED "ROMPER ROOM."

686
00:30:13,745 --> 00:30:15,690
Manderfield:
SHE IMPRESSED ME BECAUSE

687
00:30:15,714 --> 00:30:17,425
SHE REALLY KNEW
WHAT SHE WAS DOING.

688
00:30:17,449 --> 00:30:20,528
SHE JUST HAD A FIRM CONTROL
ON THE WHOLE THING.

689
00:30:20,552 --> 00:30:22,930
SHE KNEW EXACTLY WHAT TO DO
AND HOW TO DO IT.

690
00:30:22,954 --> 00:30:25,566
NOW, WE'RE GOING TO
FOLD OUR HANDS AND SAY,

691
00:30:25,590 --> 00:30:28,536
"GOD IS GREAT, GOD IS GOOD.

692
00:30:28,560 --> 00:30:32,307
"LET US THANK HIM
FOR OUR FOOD.

693
00:30:32,331 --> 00:30:33,408
AMEN."

694
00:30:33,432 --> 00:30:34,243
THANK YOU, BOYS AND GIRLS,

695
00:30:34,267 --> 00:30:36,210
NOW YOU MAY HELP
YOURSELVES TO COOKIES

696
00:30:36,234 --> 00:30:37,146
AND TO YOUR REFRESHMENTS.

697
00:30:37,170 --> 00:30:39,314
Narrator: AIMED SQUARELY
AT PRESCHOOLERS,

698
00:30:39,338 --> 00:30:43,017
"ROMPER ROOM" WAS A MIX OF
GAMES, SONGS, AND MORAL LESSONS.

699
00:30:43,041 --> 00:30:45,787
MOST CITIES HAD
THEIR OWN LOCAL HOST,

700
00:30:45,811 --> 00:30:49,657
TRAINED BY CLASTER AT HER
BALTIMORE FACILITY.

701
00:30:49,681 --> 00:30:53,261
IT WAS MISS MARY ANN
IN LOS ANGELES,

702
00:30:53,285 --> 00:30:56,197
MISS BEVERLY IN CHICAGO,

703
00:30:56,221 --> 00:30:58,966
AND MISS MARLENE IN
GREEN BAY, WISCONSIN,

704
00:30:58,990 --> 00:31:00,935
MORE THAN 100 IN ALL.

705
00:31:00,959 --> 00:31:03,905
EACH HOSTESS WAS A REAL PERSON,

706
00:31:03,929 --> 00:31:05,406
AND WE WERE OUT
IN THE COMMUNITY.

707
00:31:05,430 --> 00:31:08,009
I NEVER MISSED A PARADE,
AND IF THEY CALLED ME

708
00:31:08,033 --> 00:31:10,912
TO BE IN A PARADE, "YES,
YOU JUST TELL ME WHERE IT IS."

709
00:31:10,936 --> 00:31:13,981
BECAUSE I KNEW
EVERY PLACE I WENT

710
00:31:14,005 --> 00:31:16,600
THAT I WOULD HAVE MORE VIEWERS.

711
00:31:18,510 --> 00:31:20,355
Narrator: EACH HOSTESS
CAREFULLY FOLLOWED

712
00:31:20,379 --> 00:31:23,157
THE SAME SCRIPTS, SONGS,
AND ACTIVITIES,

713
00:31:23,181 --> 00:31:25,727
ALL PREPARED BY NANCY CLASTER.

714
00:31:25,751 --> 00:31:27,028
Serrano: THE CLASTERS

715
00:31:27,052 --> 00:31:30,665
WERE VERY, VERY STRICT
ON HOW ALL

716
00:31:30,689 --> 00:31:33,067
THE "ROMPER ROOM" TEACHERS
NEEDED TO BEHAVE,

717
00:31:33,091 --> 00:31:35,503
HOW WE DRESSED,
HOW WE TALKED,

718
00:31:35,527 --> 00:31:36,637
HOW WE INTROED THINGS,

719
00:31:36,661 --> 00:31:39,073
THE WAY WE RELATED
TO THE CHILDREN.

720
00:31:39,097 --> 00:31:40,042
THERE WAS A FORMULA.

721
00:31:40,066 --> 00:31:42,377
IT WAS A SUCCESSFUL FORMULA.

722
00:31:42,401 --> 00:31:44,412
YOU WEREN'T SUPPOSED
TO DIVERT FROM

723
00:31:44,436 --> 00:31:45,747
THE GUIDELINES
THAT THEY GAVE YOU.

724
00:31:45,771 --> 00:31:48,282
EVERYTHING WAS SUPPOSED
TO BE DONE JUST SO.

725
00:31:48,306 --> 00:31:50,852
Narrator: DESPITE
THE UNIFORMITY,

726
00:31:50,876 --> 00:31:52,453
"ROMPER ROOM"
WAS A LOCAL SHOW,

727
00:31:52,477 --> 00:31:55,523
AND EACH VERSION
REFLECTED ITS COMMUNITY.

728
00:31:55,547 --> 00:31:57,792
FRIENDS AT HOME,
WE HAVE A STORY FOR YOU,

729
00:31:57,816 --> 00:31:58,460
<i>UN CUENTO,</i>

730
00:31:58,484 --> 00:32:03,865
<i>ES UN "CUENTO DE UN COCODRILO,"</i>
"THE STORY OF THE CROCODILE."

731
00:32:03,889 --> 00:32:06,801
Serrano: CULTURALLY
I WAS A WHOLE DIFFERENT

732
00:32:06,825 --> 00:32:07,835
"ROMPER ROOM" TEACHER,

733
00:32:07,859 --> 00:32:11,305
SO MADE SURE THAT WE HAD
AFRICAN AMERICAN CHILDREN,

734
00:32:11,329 --> 00:32:12,573
LATINO, ASIAN,

735
00:32:12,597 --> 00:32:13,275
WHITE CHILDREN,

736
00:32:13,299 --> 00:32:16,477
CHILDREN OF ALL KINDS OF
CULTURAL BACKGROUNDS.

737
00:32:16,501 --> 00:32:17,545
YOU KNOW, THIS WAS THE MID-'70s,

738
00:32:17,569 --> 00:32:20,948
SO WE HAD BOY...
I HAD A BOY THERE NAMED RAINBOW.

739
00:32:20,972 --> 00:32:23,908
WE HAD, YOU KNOW,
GIRLS NAMED FREE.

740
00:32:26,378 --> 00:32:27,922
Narrator: THE CHILDREN
IN THE STUDIO

741
00:32:27,946 --> 00:32:29,757
WERE REGULAR KIDS
FROM THE LOCAL COMMUNITY

742
00:32:29,781 --> 00:32:32,827
WHO CAME IN FOR A WEEK
TO CREATE A MEMORY

743
00:32:32,851 --> 00:32:34,595
THAT LASTED A LIFETIME.

744
00:32:34,619 --> 00:32:36,264
YOU COULD SIGN UP
FOR "ROMPER ROOM."

745
00:32:36,288 --> 00:32:39,000
YOU COULD JUST GO IN
LIKE A CIVILIAN

746
00:32:39,024 --> 00:32:40,735
AND GET ON "ROMPER ROOM."

747
00:32:40,759 --> 00:32:42,570
SO WE WENT DOWN TO
"ROMPER ROOM"

748
00:32:42,594 --> 00:32:44,772
AND MY... WE SIGNED UP
FOR "ROMPER ROOM,"

749
00:32:44,796 --> 00:32:46,674
MISS MARY WAS MY TEACHER,

750
00:32:46,698 --> 00:32:50,812
AND NORMALLY YOU
DID IT FOR A WEEK,

751
00:32:50,836 --> 00:32:54,148
AND I LIKED IT SO MUCH
AND I GUESS THEY LIKED ME

752
00:32:54,172 --> 00:32:55,783
THAT I DID IT FOR TWO WEEKS.

753
00:32:55,807 --> 00:32:58,920
I WAS A... WHAT WAS IT,
"DO BEE."

754
00:32:59,846 --> 00:33:02,356
THERE WAS "DO BEES"
AND "DON'T BEES."

755
00:33:02,380 --> 00:33:03,958
I WAS A "DO BEE."

756
00:33:07,552 --> 00:33:09,397
Narrator: BECAUSE
"ROMPER ROOM" WAS LIVE

757
00:33:09,421 --> 00:33:11,732
WITH THREE-
AND FOUR-YEAR-OLDS,

758
00:33:11,756 --> 00:33:14,157
ANYTHING COULD HAPPEN.

759
00:33:14,693 --> 00:33:16,637
IN LOS ANGELES,
MISS MARY ANN

760
00:33:16,661 --> 00:33:20,029
LIKED TO BRING ANIMALS
INTO THE STUDIO.

761
00:33:20,866 --> 00:33:23,010
WHEN A YOUNG LION
MADE A VISIT,

762
00:33:23,034 --> 00:33:26,881
A TECHNICIAN THOUGHT IT WOULD BE
FUN TO PLAY THE SOUND

763
00:33:26,905 --> 00:33:29,350
OF A ROARING ADULT LION.

764
00:33:30,309 --> 00:33:31,286
AND THAT LION WENT BERSERK.

765
00:33:31,310 --> 00:33:33,287
HE THOUGHT IT WAS
THE CALL OF THE WILD

766
00:33:33,311 --> 00:33:34,223
OR THE CALL OF HIS MOTHER,

767
00:33:34,247 --> 00:33:35,690
BUT HE WENT RIGHT
FOR THE CAMERAMAN.

768
00:33:35,714 --> 00:33:38,626
I'VE NEVER SEEN THEM
MOVE THOSE CAMERAS SO FAST

769
00:33:38,650 --> 00:33:39,294
IN ALL MY LIFE.

770
00:33:39,318 --> 00:33:41,028
THEY GOT UP ON THE RISERS
WITH THE PARENTS

771
00:33:41,052 --> 00:33:43,397
IN THE BACK OF THE STUDIO,
AND THIS LION'S GOING,

772
00:33:43,421 --> 00:33:46,033
<i>RAH, RAH,</i> I SAID,
"YOU KNOW WHAT, BOYS AND GIRLS?

773
00:33:46,057 --> 00:33:49,303
"I THINK THAT LION IS LOOKING
FOR THE CALL OF HIS MOTHER,

774
00:33:49,327 --> 00:33:53,007
"AND WHILE HE CONTINUES LOOKING,
LET'S PUT ON OUR MAGIC EYES

775
00:33:53,031 --> 00:33:56,244
AND SEE WHAT'S COMING
OUR WAY RIGHT NOW."

776
00:33:56,268 --> 00:33:57,745
TWO MINUTES OF
FILMED COMMERCIAL.

777
00:33:57,769 --> 00:34:00,748
AND I'LL LOOK FOR YOU
IN A MAGIC MIRROR,

778
00:34:00,772 --> 00:34:02,250
SO HERE I GO.

779
00:34:02,274 --> 00:34:04,552
ROMPER, BOMPER,
STOMPER BOO.

780
00:34:04,576 --> 00:34:05,586
TELL ME, TELL ME...

781
00:34:05,610 --> 00:34:07,188
Narrator: "ROMPER ROOM'S"
TRADEMARK SEGMENT

782
00:34:07,212 --> 00:34:10,558
WAS THE MAGIC MIRROR,
WHICH SEEMED TO MAKE IT POSSIBLE

783
00:34:10,582 --> 00:34:13,828
FOR THE HOSTESS
TO SEE CHILDREN AT HOME

784
00:34:13,852 --> 00:34:14,962
THROUGH THE TV.

785
00:34:14,986 --> 00:34:18,432
YOUNGSTERS PATIENTLY WAITED
FOR THEIR NAME TO BE CALLED.

786
00:34:18,456 --> 00:34:20,668
ROMPER, BOMPER,
STOMPER BOO.

787
00:34:20,692 --> 00:34:22,904
ROMPER,
BOMPER, STOMPER BOO.

788
00:34:22,928 --> 00:34:24,539
TELL ME, TELL ME,
TELL ME, DO,

789
00:34:24,563 --> 00:34:26,574
MAGIC MIRROR,
TELL ME TODAY,

790
00:34:26,598 --> 00:34:28,743
DID ALL MY FRIENDS
HAVE FUN AT PLAY?

791
00:34:28,767 --> 00:34:30,811
I SEE MARCHAND AND AMANDA.

792
00:34:30,835 --> 00:34:32,847
I SEE NASTORA AND ANDREA.

793
00:34:32,871 --> 00:34:34,181
I SEE ROBERT AND MAY,

794
00:34:34,205 --> 00:34:36,617
LeSEAN, LEO, LAUREN, AND CAROL.

795
00:34:36,641 --> 00:34:39,353
THERE'S MARTIN,
JUNIOR, AND YOU,

796
00:34:39,377 --> 00:34:41,656
AND I'LL SEE YOU
ALL AGAIN TOMORROW

797
00:34:41,680 --> 00:34:42,890
ON "ROMPER ROOM" SCHOOL.

798
00:34:42,914 --> 00:34:45,927
AND I'LL SEE YOU TOMORROW
AT 9:00

799
00:34:45,951 --> 00:34:47,613
IN THE "ROMPER ROOM" SCHOOL.

800
00:34:48,186 --> 00:34:50,565
Narrator: THE ORGANIZATION
AND DISCIPLINE OF "ROMPER ROOM"

801
00:34:50,589 --> 00:34:52,733
PROVIDED A SHARP CONTRAST
TO THE OTHER BIG HIT

802
00:34:52,757 --> 00:34:56,319
IN FRANCHISED KIDS'
TELEVISION...

803
00:34:57,329 --> 00:35:00,741
A MANIC CLOWN CALLED BOZO.

804
00:35:00,765 --> 00:35:05,846
BOZO PREDATES TELEVISION.

805
00:35:09,174 --> 00:35:11,686
<i>Bozo: OUR SKY ROCKET SHIP
HAS TAKEN...</i>

806
00:35:11,710 --> 00:35:13,154
Narrator: SHORTLY AFTER
WORLD WAR II,

807
00:35:13,178 --> 00:35:16,290
THE CHARACTER EMERGED AS
A STORYTELLING RECORD

808
00:35:16,314 --> 00:35:18,125
AND READ-ALONG BOOK.

809
00:35:18,149 --> 00:35:22,917
<i>Bozo: AND HERE WE ARE
IN SUNNY ITALY.</i>

810
00:35:25,223 --> 00:35:26,267
Narrator: IN THE MID-1950s,

811
00:35:26,291 --> 00:35:27,935
LARRY HARMON
BOUGHT THE CHARACTER

812
00:35:27,959 --> 00:35:29,403
AND EMBARKED ON
THE MOST AGGRESSIVE

813
00:35:29,427 --> 00:35:33,074
FRANCHISING EFFORT
IN KIDS' TV HISTORY.

814
00:35:33,098 --> 00:35:34,942
Scott: LARRY HARMON
WAS LARRY HARMON

815
00:35:34,966 --> 00:35:37,378
WAS BOZO WAS BOZO
WAS LARRY HARMON.

816
00:35:37,402 --> 00:35:38,613
THERE WAS NO DIFFERENCE.

817
00:35:38,637 --> 00:35:41,816
I MEAN, HE WAS THE MOST...
HE WAS A KID.

818
00:35:41,840 --> 00:35:44,051
HE WAS A 40-YEAR-OLD KID
WHEN I MET HIM.

819
00:35:44,075 --> 00:35:47,088
HE WAS A 90-YEAR-OLD
KID WHEN HE PASSED AWAY.

820
00:35:47,112 --> 00:35:48,756
HE WOULD DO TV APPEARANCES

821
00:35:48,780 --> 00:35:50,825
SOMETIMES VERY EARLY
IN THE MORNING,

822
00:35:50,849 --> 00:35:55,363
SO HE HAD TO SLEEP
WITH HIS MAKEUP ON,

823
00:35:55,387 --> 00:35:59,567
AND I REMEMBER
THE FIRST TIME HE DID IT,

824
00:35:59,591 --> 00:36:02,169
AND I TURNED OVER,

825
00:36:02,193 --> 00:36:07,074
AND I'M LOOKING AT
THE BOZO FACE,

826
00:36:07,098 --> 00:36:10,911
AND I JUST THOUGHT,
"WHERE AM I?

827
00:36:10,935 --> 00:36:12,346
"WHAT'S HAPPENING TO ME?

828
00:36:12,370 --> 00:36:14,882
I'M SLEEPING WITH
THIS CLOWN."

829
00:36:14,906 --> 00:36:17,618
Narrator: HARMON USED
BOZO'S POPULARITY

830
00:36:17,642 --> 00:36:22,490
AS A SPRINGBOARD TO A WIDE RANGE
OF UNLIKELY PERSONAL ADVENTURES,

831
00:36:22,514 --> 00:36:24,625
INCLUDING A JOURNEY
TO NEW GUINEA

832
00:36:24,649 --> 00:36:28,195
AND A RIDE ON NASA'S
WEIGHTLESS FLIGHTS,

833
00:36:28,219 --> 00:36:30,231
ALL AS BOZO.

834
00:36:30,255 --> 00:36:32,700
OH!

835
00:36:32,724 --> 00:36:34,035
AH!

836
00:36:42,133 --> 00:36:43,811
Narrator: EVENTUALLY,
MORE THAN 100 BOZOS

837
00:36:43,835 --> 00:36:46,914
ACROSS THE COUNTRY PUT ON
THE DISTINCTIVE CLOWN MAKEUP

838
00:36:46,938 --> 00:36:48,783
FIVE DAYS A WEEK,

839
00:36:48,807 --> 00:36:51,452
FOLLOWING THE LOOK REFINED
BY LARRY HARMON.

840
00:36:51,476 --> 00:36:55,556
Harmon: NO SMOKING,
NO DRINKING, NO WOMANIZING,

841
00:36:55,580 --> 00:36:57,425
NEVER SHOW SKIN.

842
00:36:57,449 --> 00:37:01,595
YOU CAN NEVER HAVE SKIN,
BECAUSE THE CHILD

843
00:37:01,619 --> 00:37:05,966
SHOULD THINK OF BOZO
AS BOZO,

844
00:37:05,990 --> 00:37:07,568
NOT A PERSON UNDERNEATH.

845
00:37:09,360 --> 00:37:09,938
HEY!

846
00:37:09,962 --> 00:37:12,239
Narrator: THE BOZOS
WERE NOT CLONES.

847
00:37:12,263 --> 00:37:14,875
EACH WAS A REFLECTION
OF THE MAN UNDER THE MAKEUP,

848
00:37:14,899 --> 00:37:17,311
INCLUDING FRANK AVRUCH
IN BOSTON,

849
00:37:17,335 --> 00:37:18,813
BOB BELL IN CHICAGO,

850
00:37:18,837 --> 00:37:22,249
AND WILLARD SCOTT
IN WASHINGTON, D.C.

851
00:37:22,273 --> 00:37:23,484
Scott: IT REALLY GOT TO ME.

852
00:37:23,508 --> 00:37:26,821
I'D TREMBLE SOMETIMES
TRYING TO PUT THAT MAKEUP ON

853
00:37:26,845 --> 00:37:29,023
'CAUSE IT WAS SO...
IT WAS EXHAUSTING.

854
00:37:29,047 --> 00:37:30,658
OH, WAIT, HERE'S A FELLA,
THANK YOU, OKAY.

855
00:37:30,682 --> 00:37:33,160
I DIDN'T THINK YOU WERE
EVER GONNA GET DOWN HERE.

856
00:37:33,184 --> 00:37:34,062
YOU'RE CHUCKY, RIGHT?

857
00:37:34,086 --> 00:37:35,396
YEAH.
WHAT A NICE SMILE.

858
00:37:35,420 --> 00:37:38,499
Narrator: UNLIKE MANY
KIDS' SHOW HOSTS, BOZO WAS

859
00:37:38,523 --> 00:37:41,435
CONSTANTLY INTERACTING
WITH A FULL STUDIO

860
00:37:41,459 --> 00:37:43,037
OF OVEREXCITED YOUNGSTERS.

861
00:37:43,061 --> 00:37:44,505
BECAUSE IT WAS A LIVE SHOW,

862
00:37:44,529 --> 00:37:47,842
EVERYTHING THAT HAPPENED
GOT ON THE AIR,

863
00:37:47,866 --> 00:37:49,343
INCLUDING THE TIME ONE BOY

864
00:37:49,367 --> 00:37:51,445
TOOK A SWING AT WILLARD SCOTT.

865
00:37:51,469 --> 00:37:52,214
Scott: AND THEN HE

866
00:37:52,238 --> 00:37:54,749
GAVE ME A BAT AND THEN HE...
AND THEN HE...

867
00:37:54,773 --> 00:37:56,617
I FELL OVER BECAUSE
HE WAS A BIG KID,

868
00:37:56,641 --> 00:37:59,954
AND THEN HE SAT ON MY CHEST
AND STARTED BEATING ME UP

869
00:37:59,978 --> 00:38:01,789
AND THEY HAD TO PULL HIM OFF.

870
00:38:02,548 --> 00:38:05,059
SO THERE ARE HAZARDS
WITH THE SHOW.

871
00:38:08,987 --> 00:38:11,398
♪ SOME PEOPLE
SELL INSURANCE ♪

872
00:38:11,422 --> 00:38:13,134
♪ TO MINIMIZE YOUR STRIFE ♪

873
00:38:13,158 --> 00:38:14,735
♪ THERE MAY BE
AN OCCURRENCE ♪

874
00:38:14,759 --> 00:38:17,271
♪ WHEN POLICEMEN
SAVE YOUR LIFE ♪

875
00:38:17,295 --> 00:38:19,373
Narrator: CHICAGO'S VERSION
OF "BOZO'S CIRCUS"

876
00:38:19,397 --> 00:38:21,809
RANKS AS THE MOST POPULAR
LOCAL CHILDREN'S SHOW

877
00:38:21,833 --> 00:38:23,377
IN TV HISTORY,
A CHERISHED HOUR

878
00:38:23,401 --> 00:38:25,913
OF GAMES, SONGS,
AND LAUGHS,

879
00:38:25,937 --> 00:38:28,415
ON THE AIR FOR
MORE THAN 40 YEARS.

880
00:38:28,439 --> 00:38:30,251
YOU SEE HOW THAT WORKS?
THAT'S REALLY CLEVER.

881
00:38:30,275 --> 00:38:32,953
NOW WHAT NUMBER DID YOU SAY
WAS ON THE OTHER SIDE?

882
00:38:32,977 --> 00:38:34,855
WELL, IT'S OBVIOUS,
YOU'VE ALREADY SHOWN ME.

883
00:38:34,879 --> 00:38:36,791
NOW I KNOW THERE'S ONLY
TWO ON THAT SIDE.

884
00:38:36,815 --> 00:38:38,826
NO,
THERE'S THREE OVER THERE.

885
00:38:38,850 --> 00:38:40,427
YOU SEE THAT,
HOW THAT WORKS, COOKY?

886
00:38:40,451 --> 00:38:42,596
HE HAD SORT OF
A RASPY VOICE LIKE THAT.

887
00:38:42,620 --> 00:38:44,298
YOU KNOW,
THAT WAS ONE OF THE SHOWS

888
00:38:44,322 --> 00:38:46,667
I ENJOYED WATCHING AS A KID
WAS "THE BOZO THE CLOWN SHOW."

889
00:38:46,691 --> 00:38:49,170
NOW, HOW MANY WOULD YOU SAY
WAS ON THE OTHER SIDE?

890
00:38:49,194 --> 00:38:50,038
WELL, YOU SHOWED ME ALREADY,

891
00:38:50,062 --> 00:38:51,772
I KNOW THERE'S FIVE
ON THE OTHER SIDE.

892
00:38:51,796 --> 00:38:54,175
UH-HUH-HUH,
SORRY ABOUT THAT, PAL.

893
00:38:58,570 --> 00:38:59,647
OH!

894
00:39:04,542 --> 00:39:05,719
COOKY, LOOK AT THIS!

895
00:39:07,512 --> 00:39:10,291
AW, A LITTLE BABY
KITTY CAT!

896
00:39:10,315 --> 00:39:13,894
HE MUST'VE HEARD HIS SONG
AND COME OVER TO PLAY WITH US.

897
00:39:13,918 --> 00:39:16,130
NICE JOB.

898
00:39:16,154 --> 00:39:18,265
HOLD IT, HOLD IT,
WHOA, WHOA.

899
00:39:18,289 --> 00:39:20,734
OH, IT'S AMAZING
HOW THOSE LITTLE...

900
00:39:22,293 --> 00:39:24,171
IT...

901
00:39:25,296 --> 00:39:27,241
IT'S AMAZING HOW
THOSE LITTLE CLAWS

902
00:39:27,265 --> 00:39:28,275
GO RIGHT THROUGH
TO YOUR SKIN.

903
00:39:28,299 --> 00:39:30,878
Castellaneta:
KRUSTY THE CLOWN.

904
00:39:30,902 --> 00:39:32,546
NOW, KRUSTY THE CLOWN WAS

905
00:39:32,570 --> 00:39:36,317
BASED ON THE BOZO THE CLOWN
I HAD IN CHICAGO,

906
00:39:36,341 --> 00:39:38,219
AND I REMEMBER
BOB BELL'S VOICE,

907
00:39:38,243 --> 00:39:41,488
AND YOU'RE JUST DOING
THESE THINGS ON THE FLY, SO,

908
00:39:41,512 --> 00:39:42,990
I JUST DID THAT.

909
00:39:43,014 --> 00:39:44,710
THAT WAS THE VOICE.

910
00:39:46,117 --> 00:39:47,995
Narrator: MOST BOZOS MADE
PUBLIC APPEARANCES

911
00:39:48,019 --> 00:39:50,664
AT PARADES, SCHOOLS,
AND GRAND OPENINGS.

912
00:39:50,688 --> 00:39:53,167
IN WASHINGTON, D.C.,
THE LOCAL McDONALD'S

913
00:39:53,191 --> 00:39:54,969
HIRED WILLARD SCOTT AS BOZO

914
00:39:54,993 --> 00:39:57,605
IN AN ATTEMPT TO
ATTRACT CUSTOMERS.

915
00:39:57,629 --> 00:39:59,006
IT WORKED.

916
00:39:59,030 --> 00:40:02,176
BOZO'S ARRIVAL AT McDONALD'S
SPARKED MAYHEM.

917
00:40:02,200 --> 00:40:05,145
ROADS HAD TO BE CLOSED,
EXTRA POLICE CALLED OUT,

918
00:40:05,169 --> 00:40:08,515
BECAUSE THOUSANDS WANTED
TO SEE THEIR HERO.

919
00:40:08,539 --> 00:40:10,985
I HAD MAKEUP ON MY FACE
AND THEN I'D HAVE

920
00:40:11,009 --> 00:40:12,086
THIS HUGE, 900-POUND SUIT,

921
00:40:12,110 --> 00:40:16,757
AND IT WAS 100° AND WE WERE
DOING AN APPEARANCE OUT IN,

922
00:40:16,781 --> 00:40:19,760
YOU KNOW, SOME McDONALD'S
HAMBURGER PLACE,

923
00:40:19,784 --> 00:40:22,096
AND I NEVER DID DEEP SIX
OR FALL OVER,

924
00:40:22,120 --> 00:40:24,031
BUT I THOUGHT A COUPLE
OF TIMES I WOULD.

925
00:40:24,055 --> 00:40:26,133
I... WHAT DO YOU CALL IT,
YOU HYPERVENTILATE?

926
00:40:26,157 --> 00:40:29,870
Narrator: WHEN THE BOZO SHOW
WAS CANCELLED

927
00:40:29,894 --> 00:40:31,071
IN THE WASHINGTON MARKET,

928
00:40:31,095 --> 00:40:32,573
THE LOCAL McDONALD'S RESTAURANTS

929
00:40:32,597 --> 00:40:34,842
WERE LEFT WITHOUT
THEIR BEST PITCHMAN.

930
00:40:34,866 --> 00:40:37,444
McDONALD'S CAME TO ME
AND ASKED ME,

931
00:40:37,468 --> 00:40:40,014
YOU KNOW, IF I'D LIKE TO
KEEP WORKING FOR THEM,

932
00:40:40,038 --> 00:40:42,316
AND OF COURSE I SAID, "SURE,"
AND THEY SAID,

933
00:40:42,340 --> 00:40:43,617
"WELL, WHAT DO YOU
THINK WE SHOULD DO?"

934
00:40:43,641 --> 00:40:46,253
I SAID, "OH, IT'S OBVIOUS...
WE SHOULD HAVE OUR OWN CLOWN."

935
00:40:46,277 --> 00:40:50,024
Narrator: THE NEW CLOWN
WILLARD SCOTT CAME UP WITH

936
00:40:50,048 --> 00:40:53,360
WAS RONALD... RONALD McDONALD.

937
00:40:53,384 --> 00:40:57,965
BASICALLY, I MEAN, THERE WAS
AN AWFUL LOT OF BOZO IN RONALD,

938
00:40:57,989 --> 00:41:01,468
YOU KNOW, THE LAUGH
AND THE WARMTH AND EVERYTHING.

939
00:41:01,492 --> 00:41:04,104
Narrator: IN RONALD'S
FIRST INCARNATION,

940
00:41:04,128 --> 00:41:06,774
THE COSTUME REFLECTED
HIS SINGULAR ROLE

941
00:41:06,798 --> 00:41:08,309
AS HAMBURGER SALESMAN.

942
00:41:08,333 --> 00:41:10,144
Scott: IT WAS
THE MOST COMMERCIAL...

943
00:41:10,168 --> 00:41:12,046
THE GAUDIEST THING
YOU'VE EVER SEEN.

944
00:41:12,070 --> 00:41:15,482
THERE WAS A BIG, WIDE,
BLUE BELT AROUND MY MIDDLE,

945
00:41:15,506 --> 00:41:17,518
AND IT HAD A LITTLE
SPRING IN IT,

946
00:41:17,542 --> 00:41:19,186
AND WE'D PUT TWO OR THREE
HAMBURGERS...

947
00:41:19,210 --> 00:41:21,121
FAKE HAMBURGERS...
AND WHEN YOU PRESSED

948
00:41:21,145 --> 00:41:23,924
MY BELLY BUTTON,
THE HAMBURGER WOULD POP OUT,

949
00:41:23,948 --> 00:41:27,695
AND THEN WE HAD A HAT,
IT WAS MADE OF STYROFOAM,

950
00:41:27,719 --> 00:41:30,564
AND IN THE HAT WE HAD
A MILKSHAKE AND FRIES.

951
00:41:30,588 --> 00:41:32,166
SO IT WAS PRETTY COMMERCIAL.

952
00:41:32,190 --> 00:41:35,135
Narrator: THE CROSSOVER
FROM KIDS' SHOW HOST

953
00:41:35,159 --> 00:41:39,106
TO COMMERCIAL PITCHMAN WASN'T
UNIQUE TO BOZO AND RONALD.

954
00:41:39,130 --> 00:41:42,543
ALL ACROSS AMERICA,
CHILDREN'S TV HOSTS

955
00:41:42,567 --> 00:41:43,511
WERE SELLING PRODUCTS.

956
00:41:43,535 --> 00:41:46,080
Axel: SO, KIDS, YOU BE SURE
AND TELL YOUR MOM ABOUT

957
00:41:46,104 --> 00:41:49,216
THESE NABISCO WHEAT HONEYS
THAT ARE SO GOOD TO EAT

958
00:41:49,240 --> 00:41:50,451
AND SO GOOD FOR YOU,
WILL YOU?

959
00:41:50,475 --> 00:41:53,454
NOW IT'S THE SENSATIONAL NEW
FIRE CHIEF SPEAKERS HAT.

960
00:41:53,478 --> 00:41:55,589
EASY TO GET FROM
ANY TEXACO DEALER

961
00:41:55,613 --> 00:41:57,257
FOR $3.98, BUT ONLY...

962
00:41:57,281 --> 00:41:59,360
Narrator: AT FIRST
IT SEEMED INNOCENT TO HAVE

963
00:41:59,384 --> 00:42:01,161
A LOCAL HOST MENTION
A FEW TOYS.

964
00:42:01,185 --> 00:42:03,897
BECAUSE THE CHILDREN
WANT TO PARTICIPATE WITH YOU,

965
00:42:03,921 --> 00:42:06,533
AND IF THAT ITEM
THAT I'M USING,

966
00:42:06,557 --> 00:42:10,104
THAT TAMBOURINE OR THE DRUM,
IS AVAILABLE,

967
00:42:10,128 --> 00:42:11,238
IT'S ALL RIGHT TO TELL THEM

968
00:42:11,262 --> 00:42:13,407
WHERE THEY CAN BUY IT,
DON'T YOU THINK?

969
00:42:13,431 --> 00:42:16,443
Narrator:
AS THE HAWKING INCREASED,

970
00:42:16,467 --> 00:42:17,644
CRITICISM BEGAN TO MOUNT.

971
00:42:17,668 --> 00:42:20,714
REMIND MOM TO BE SURE AND GET
SEVERAL PACKAGES

972
00:42:20,738 --> 00:42:22,916
OF MICKELBERRY'S
PLUMP AND JUICY FRANKS TODAY.

973
00:42:22,940 --> 00:42:25,686
BECAUSE THIS IS THE MILK
THAT'S GOOD FOR YA.

974
00:42:25,710 --> 00:42:29,356
IT HAS THE FRESH-FROM-THE-FARM
FLAVOR, YOU KNOW WHAT I MEAN?

975
00:42:29,380 --> 00:42:31,725
SEE 'EM GO?
THOSE BUBBLES ARE AVAILABLE

976
00:42:31,749 --> 00:42:33,360
IN WHAT WE CALL
THE BUBBALOON GAME,

977
00:42:33,384 --> 00:42:36,063
AND IT'S AVAILABLE AT
TOYLAND FOR 98 CENTS.

978
00:42:36,087 --> 00:42:37,032
THAT'S ALL IT COSTS.

979
00:42:37,056 --> 00:42:38,098
DID YOU EVER STOP TO THINK

980
00:42:38,122 --> 00:42:40,455
HOW MANY TIMES A DAY
YOU COULD EAT BREAD?

981
00:42:42,427 --> 00:42:44,605
Narrator: IN 1968,
A SUBURBAN MOTHER

982
00:42:44,629 --> 00:42:46,974
NAMED PEGGY CHARREN
GATHERED A FEW FRIENDS

983
00:42:46,998 --> 00:42:48,575
IN HER LIVING ROOM
TO TALK ABOUT WAYS

984
00:42:48,599 --> 00:42:50,811
TO FIGHT THE GROWING
COMMERCIALISM

985
00:42:50,835 --> 00:42:52,146
OF KIDS' TV SHOWS.

986
00:42:52,170 --> 00:42:56,483
SHE CALLED HER GROUP "ACTION
FOR CHILDREN'S TELEVISION,"

987
00:42:56,507 --> 00:42:58,819
AND WITHIN TWO YEARS,
THEY WERE TESTIFYING

988
00:42:58,843 --> 00:43:00,554
BEFORE THE FEDERAL
COMMUNICATIONS COMMISSION

989
00:43:00,578 --> 00:43:04,258
AND SPEARHEADING MAJOR CHANGES
IN BROADCASTING LAW,

990
00:43:04,282 --> 00:43:06,927
INCLUDING THE PASSAGE
OF A LANDMARK RULE

991
00:43:06,951 --> 00:43:09,096
THAT PROHIBITED
KIDS' TV HOSTS

992
00:43:09,120 --> 00:43:12,366
FROM SELLING PRODUCTS
ON THEIR SHOWS.

993
00:43:12,390 --> 00:43:14,201
AROUND THE SAME TIME,

994
00:43:14,225 --> 00:43:16,703
COMEDIAN BILL COSBY
TURNED HIS ATTENTION

995
00:43:16,727 --> 00:43:18,038
TO CHILDREN'S TELEVISION.

996
00:43:18,062 --> 00:43:19,740
HE DIDN'T LIKE WHAT HE SAW.

997
00:43:19,764 --> 00:43:27,764
THAT TV SET DOESN'T PLAY
CHILDREN STORIES

998
00:43:28,239 --> 00:43:30,617
THE WAY IT OUGHT TO

999
00:43:30,641 --> 00:43:37,524
BECAUSE THEY WON'T
PAY THE PRICE UNLESS

1000
00:43:37,548 --> 00:43:42,963
SOME DOLL COMES OUT OF IT,
SOME TOY COMES OUT

1001
00:43:42,987 --> 00:43:44,565
THAT THEY CAN
PUT IN THE STORE

1002
00:43:44,589 --> 00:43:46,633
AND HAVE THE LITTLE CHILDREN

1003
00:43:46,657 --> 00:43:49,136
TO A GROWN-UP,
"I WANT THAT, I WANT THAT,"

1004
00:43:49,160 --> 00:43:52,130
ALL THE PEOPLE BUY IT
AND GIVE IT TO THEM.

1005
00:43:53,731 --> 00:43:54,542
Narrator: COSBY TOOK ACTION.

1006
00:43:54,566 --> 00:43:57,711
EARNING A PH.D. IN EDUCATION,
WRITING HIS DISSERTATION

1007
00:43:57,735 --> 00:44:00,013
ON THE UNTAPPED POTENTIAL
OF CHILDREN'S TV,

1008
00:44:00,037 --> 00:44:02,583
COSBY WANTED TO DEMONSTRATE
THAT COMMERCIAL STATIONS

1009
00:44:02,607 --> 00:44:04,952
COULD PRODUCE A QUALITY
PROGRAM FOR KIDS,

1010
00:44:04,976 --> 00:44:07,321
A SHOW THAT HAD
EDUCATIONAL VALUE

1011
00:44:07,345 --> 00:44:09,223
AND GOT GOOD RATINGS.

1012
00:44:09,247 --> 00:44:11,258
HIS BREAKTHROUGH SERIES
WAS CALLED

1013
00:44:11,282 --> 00:44:13,494
"FAT ALBERT
AND THE COSBY KIDS."

1014
00:44:13,518 --> 00:44:15,796
HEY, HEY, HEY!

1015
00:44:15,820 --> 00:44:18,465
IT'S FAT ALBERT!

1016
00:44:18,489 --> 00:44:19,400
AND I'M...

1017
00:44:19,424 --> 00:44:21,235
Man: THEY BECAME STORIES

1018
00:44:21,259 --> 00:44:23,337
AND CONTENT AREAS THAT

1019
00:44:23,361 --> 00:44:27,040
REGARDLESS OF WHO YOU WERE
OR WHERE YOU LIVED,

1020
00:44:27,064 --> 00:44:28,976
THERE WAS SOMETHING
IN THOSE STORIES

1021
00:44:29,000 --> 00:44:30,777
THAT YOU COULD TAKE AWAY.

1022
00:44:30,801 --> 00:44:35,282
THAT YOU COULD TAKE AWAY FROM
THE PROGRAM

1023
00:44:35,306 --> 00:44:37,017
AND APPLY TO YOUR OWN LIFE.

1024
00:44:37,041 --> 00:44:38,719
NOT ONLY WAS THE SHOW
THE KIND OF SHOW

1025
00:44:38,743 --> 00:44:40,387
THAT EVERYBODY
THOUGHT WOULD FAIL,

1026
00:44:40,411 --> 00:44:42,723
BUT IT GOT HUMONGOUS NUMBERS.

1027
00:44:42,747 --> 00:44:47,094
WE GOT 60 SHARES AT 12:00
SATURDAY MORNING,

1028
00:44:47,118 --> 00:44:49,485
AND THAT WAS A LOT, EVEN THEN.

1029
00:44:50,821 --> 00:44:52,332
Narrator: BILL COSBY
DEMONSTRATED THAT

1030
00:44:52,356 --> 00:44:54,268
A CHILDREN'S SHOW
WITH EDUCATIONAL CONTENT

1031
00:44:54,292 --> 00:44:57,337
COULD SUCCEED ON
COMMERCIAL TELEVISION.

1032
00:44:57,361 --> 00:44:59,339
KID'S TV DIDN'T
HAVE TO SINK TO

1033
00:44:59,363 --> 00:45:02,910
SHAMELESS PRODUCT SHILLING
TO SUCCEED.

1034
00:45:02,934 --> 00:45:05,445
CBS WAS STUNNED
WHEN "FAT ALBERT"

1035
00:45:05,469 --> 00:45:07,114
BECAME A MAJOR SUCCESS.

1036
00:45:07,138 --> 00:45:09,750
THERE WASN'T ANYTHING
IN PARTICULAR

1037
00:45:09,774 --> 00:45:11,385
THAT THEY COULD SELL.

1038
00:45:11,409 --> 00:45:14,121
IT WAS STILL

1039
00:45:14,145 --> 00:45:18,091
ALMOST AN ALBATROSS,
THIS SHOW.

1040
00:45:18,115 --> 00:45:22,229
TWO THINGS...
IT WAS A KIDS' SHOW.

1041
00:45:22,253 --> 00:45:24,464
NUMBER TWO, IT WAS BLACK,

1042
00:45:24,488 --> 00:45:26,533
TO PEOPLE IN THE NETWORK,

1043
00:45:26,557 --> 00:45:29,803
TO PEOPLE
IN ADVERTISING,

1044
00:45:29,827 --> 00:45:36,610
AND SO EVEN THOUGH WE WERE
WHIPPING MAJOR LEAGUE BASEBALL,

1045
00:45:36,634 --> 00:45:38,679
THERE WASN'T...

1046
00:45:38,703 --> 00:45:43,350
YOU KNOW, I THINK CBS AT THAT
TIME WAS LOOKING AROUND

1047
00:45:43,374 --> 00:45:45,419
OVER THEIR SHOULDER
FOR SOMETHING ELSE

1048
00:45:45,443 --> 00:45:48,322
TO COME ALONG,
BUT, MAN, WE DID...

1049
00:45:48,346 --> 00:45:50,542
YES, I'M PROUD.

1050
00:45:57,188 --> 00:45:58,599
Narrator: BY THE LATE 1970s,

1051
00:45:58,623 --> 00:46:01,969
LOCAL KIDS' TV SHOWS
WERE ON THE DECLINE.

1052
00:46:01,993 --> 00:46:03,937
THE NEW LAWS
BANNING HOST SELLING

1053
00:46:03,961 --> 00:46:05,973
HAD CUT DEEPLY INTO
THE BOTTOM LINE,

1054
00:46:05,997 --> 00:46:09,843
AND CHEAPER SYNDICATED FARE
WAS NOW WIDELY AVAILABLE.

1055
00:46:09,867 --> 00:46:13,180
THE ERA OF THE HOMETOWN
TV COWBOYS AND PIRATES

1056
00:46:13,204 --> 00:46:18,218
AND CLOWNS HAD COME TO
AN END... ALMOST.

1057
00:46:20,077 --> 00:46:22,055
COME IN!

1058
00:46:22,079 --> 00:46:23,423
Narrator: IN PHOENIX,

1059
00:46:23,447 --> 00:46:26,860
"THE WALLACE AND LADMO SHOW"
WAS BUCKING THE TREND,

1060
00:46:26,884 --> 00:46:29,162
STILL GOING STRONG
THROUGH THE 1980s.

1061
00:46:29,186 --> 00:46:31,531
ONE KEY TO THE SHOW'S
CONTINUING SUCCESS

1062
00:46:31,555 --> 00:46:34,401
WAS A CHARACTER NAMED GERALD.

1063
00:46:34,425 --> 00:46:36,270
THAT WAS YOUR
RESPONSIBILITY.

1064
00:46:36,294 --> 00:46:38,305
YOU INVITED THESE
LITTLE JERKS DOWN HERE,

1065
00:46:38,329 --> 00:46:42,075
YOU GOT 'EM OUT OF THE ALLEY
WHERE THEY USUALLY HANG OUT.

1066
00:46:42,099 --> 00:46:44,411
THOSE ARE CUB SCOUTS,
BOY!

1067
00:46:45,270 --> 00:46:46,546
Narrator: PLAYED BY
PAT McMAHON,

1068
00:46:46,570 --> 00:46:50,217
GERALD WAS
A SELF-IMPORTANT SNOB

1069
00:46:50,241 --> 00:46:52,252
WHO AUDIENCES LOVED TO HATE.

1070
00:46:55,079 --> 00:46:56,590
Narrator:
WHILE MOST KIDS' SHOWS HAD

1071
00:46:56,614 --> 00:46:59,126
A FRIENDLY HERO,
VERY FEW HAD A VILLAIN,

1072
00:46:59,150 --> 00:47:03,730
AND ON "WALLACE AND LADMO,"
THE VILLAIN HAD GIRLISH HAIR,

1073
00:47:03,754 --> 00:47:07,467
WORE SHORT PANTS,
AND ANNOYED EVERYONE.

1074
00:47:07,491 --> 00:47:08,669
WHAT ARE YOU
TALKING ABOUT?

1075
00:47:08,693 --> 00:47:10,103
I DIDN'T KNOW YOU WERE IN
THE BOY SCOUTS.

1076
00:47:10,127 --> 00:47:13,140
BITE YOUR TONGUE,
I'M NOT A BOY SCOUT.

1077
00:47:13,164 --> 00:47:14,741
GIRL SCOUTS?

1078
00:47:17,234 --> 00:47:20,881
BOY SCOUTS ARE FOR ORDINARY,
COMMON KIDS.

1079
00:47:20,905 --> 00:47:25,352
I AM A CHILD GUIDE.
THAT'S FOR RICH KIDS.

1080
00:47:25,376 --> 00:47:28,288
AS YOU KNOW, I'M VERY,
VERY WEALTHY.

1081
00:47:28,312 --> 00:47:28,790
YEAH?

1082
00:47:28,814 --> 00:47:30,691
Narrator: WHEN
THE GERALD CHARACTER

1083
00:47:30,715 --> 00:47:32,526
MADE HIS FIRST APPEARANCE,
IN 1963,

1084
00:47:32,550 --> 00:47:34,461
NO ONE WAS SURE IF
HE WOULD CATCH ON,

1085
00:47:34,485 --> 00:47:37,664
UNTIL GERALD APPEARED ON
A SATURDAY STAGE SHOW,

1086
00:47:37,688 --> 00:47:41,268
AN EVENT THAT GOT
OUT OF CONTROL.

1087
00:47:41,292 --> 00:47:44,237
HE WAS A BRAT, AND IT WAS
FUN TO BOO HIM.

1088
00:47:44,261 --> 00:47:49,509
GERALD CAME OUT AND READ
THE RULES TO THE KIDS.

1089
00:47:49,533 --> 00:47:53,947
DO NOT LOOK AT HIM
DIRECTLY IN THE EYE.

1090
00:47:53,971 --> 00:47:57,050
DO NOT SPEAK TO HIM
UNLESS HE SPEAKS FIRST.

1091
00:47:57,074 --> 00:48:01,221
IF THIS CROWD DOES NOT TREAT ME
LIKE THE STAR I AM,

1092
00:48:01,245 --> 00:48:04,558
I'M WALKING OFF THIS STAGE
AND GOING HOME.

1093
00:48:04,582 --> 00:48:06,827
BOO!
BOO!
BOO!

1094
00:48:06,851 --> 00:48:08,662
IT WAS A HUGE CROWD.

1095
00:48:08,686 --> 00:48:10,630
THEY WERE REALLY MAD.

1096
00:48:10,654 --> 00:48:13,600
McMahon: SOMEBODY WITH
A BIZARRE SENSE OF HUMOR

1097
00:48:13,624 --> 00:48:17,504
HAD PASSED OUT PICKLES,

1098
00:48:17,528 --> 00:48:21,074
AND A NINE-YEAR-OLD
WITH A GIGANTIC GHERKIN

1099
00:48:21,098 --> 00:48:27,247
CAN BE A VERY DANGEROUS
PART OF YOUR AUDIENCE.

1100
00:48:27,271 --> 00:48:29,249
THEY ATTACKED THE STAGE,

1101
00:48:29,273 --> 00:48:31,151
TRYING TO GET AT GERALD.

1102
00:48:31,175 --> 00:48:33,720
AND THE KIDS
WERE HYSTERICAL.

1103
00:48:33,744 --> 00:48:37,524
AND THEY BEGAN THROWING THINGS
AND CHARGING THE STAGE,

1104
00:48:37,548 --> 00:48:40,160
AND THEY TORE PART OF
THE STAGE DOWN.

1105
00:48:40,184 --> 00:48:44,030
PART OF THE PLATFORM CAME DOWN,
SO WE THOUGHT,

1106
00:48:44,054 --> 00:48:45,399
"WE'D BETTER PUT HIM
IN THE TRUCK."

1107
00:48:45,423 --> 00:48:52,239
I REMEMBER SOMEBODY ESCORTING ME
TO THE CAB OF A PICKUP TRUCK

1108
00:48:52,263 --> 00:48:53,507
THAT WAS BEHIND THE STAGE,

1109
00:48:53,531 --> 00:48:58,278
AND THE KIDS BEGAN TO ROCK
THE THING BACK AND FORTH.

1110
00:48:58,302 --> 00:49:00,847
AND THE KIDS START
ROCKING THE TRUCK.

1111
00:49:00,871 --> 00:49:02,249
IT WAS A PICKUP TRUCK.

1112
00:49:02,273 --> 00:49:04,551
AND YOU COULD
SEE HIM IN THERE...

1113
00:49:07,178 --> 00:49:07,855
AND, BY THE WAY,

1114
00:49:07,879 --> 00:49:11,358
WALL AND LAD WERE ON
WHAT WAS LEFT OF THE STAGE

1115
00:49:11,382 --> 00:49:14,861
LAUGHING HYSTERICALLY POINTING
AND THINKING,

1116
00:49:14,885 --> 00:49:17,130
"WAIT, WE COULD DO THIS
EVERY WEEKEND!"

1117
00:49:17,154 --> 00:49:20,000
SO I SAID TO LAD,
"GEEZ, I THINK WE'RE

1118
00:49:20,024 --> 00:49:23,336
"ONTO SOMETHING HERE
WITH... WITH...

1119
00:49:23,360 --> 00:49:25,338
"THIS GUY'S REALLY TERRIBLE.

1120
00:49:25,362 --> 00:49:26,506
"THEY REALLY HATE HIM.

1121
00:49:26,530 --> 00:49:28,341
THIS IS WONDERFUL!"

1122
00:49:28,365 --> 00:49:32,746
Narrator: THE SHOW NOW HAD
ITS ARCH-VILLAIN,

1123
00:49:32,770 --> 00:49:36,969
A PERFECT COUNTERPOINT
TO THE LIKABLE LADMO.

1124
00:49:42,012 --> 00:49:44,491
HE WAS THE GREATEST THING
WE EVER HAD ON THE SHOW.

1125
00:49:44,515 --> 00:49:46,726
McMahon: IS THERE
ANY BETTER EXAMPLE

1126
00:49:46,750 --> 00:49:49,663
OF HOW NOT TO BEHAVE?

1127
00:49:49,687 --> 00:49:54,835
AND IF YOU DO BEHAVE THAT WAY,
LOOK WHAT HE GETS.

1128
00:49:54,859 --> 00:49:56,570
EVERYBODY DESPISES HIM.

1129
00:49:56,594 --> 00:50:00,841
YOU KNOW WHAT YOU'RE MISSING
RIGHT NOW ON PBS? HUH?

1130
00:50:00,865 --> 00:50:01,908
NO.

1131
00:50:01,932 --> 00:50:03,043
I COULD BE HOME WATCHING

1132
00:50:03,067 --> 00:50:06,046
"THE LIFECYCLE OF
THE SNOWSHOE HARE,"

1133
00:50:06,070 --> 00:50:06,681
BUT NO, NO.

1134
00:50:06,705 --> 00:50:10,116
Narrator: EVENTUALLY THE STARS
OF "WALLACE AND LADMO" RETIRED,

1135
00:50:10,140 --> 00:50:14,387
AND THE SHOW
ENDED ITS RUN IN 1989,

1136
00:50:14,411 --> 00:50:15,422
AS POPULAR AS EVER.

1137
00:50:15,446 --> 00:50:19,059
I HAVE A POEM THAT
I'D LIKE TO RECITE.

1138
00:50:19,083 --> 00:50:20,494
A POEM?
GERALD HAS A POEM.

1139
00:50:20,518 --> 00:50:22,295
OH...

1140
00:50:22,319 --> 00:50:23,730
WAIT A MINUTE,
HOLD IT.

1141
00:50:23,754 --> 00:50:28,818
GERALD, WE HAVE TO KEEP
THE PACE OF THE SHOW MOVING.

1142
00:50:30,628 --> 00:50:35,041
Narrator: TODAY, THE ERA OF
LOCAL KIDS' TV MAY BE OVER,

1143
00:50:35,065 --> 00:50:37,611
BUT FOR A GENERATION
OF VIEWERS,

1144
00:50:37,635 --> 00:50:40,046
THE SHOWS ARE
A CHERISHED MEMORY.

1145
00:50:40,070 --> 00:50:42,849
WHATEVER THE INFLUENCES ARE
WHEN THEY'RE THAT SMALL,

1146
00:50:42,873 --> 00:50:45,652
THEY'RE GOING TO GO WITH THEM
FOR THE REST OF THEIR LIVES.

1147
00:50:45,676 --> 00:50:49,389
YOU DON'T REALIZE
THE IMPACT THAT YOU HAVE

1148
00:50:49,413 --> 00:50:50,957
DOING A TELEVISION SHOW,

1149
00:50:50,981 --> 00:50:53,927
ESPECIALLY A CHILDREN'S
TELEVISION SHOW,

1150
00:50:53,951 --> 00:50:56,296
AND IT JUST TOUCHED MY HEART.

1151
00:50:56,320 --> 00:50:57,731
I DIDN'T TALK DOWN TO THEM.

1152
00:50:57,755 --> 00:51:00,534
I DIDN'T GO,
"THEN THE MAN WENT"...

1153
00:51:00,558 --> 00:51:02,302
YOU KNOW,
I DID A COMEDY SHOW.

1154
00:51:02,326 --> 00:51:05,872
THE KIDS ARE...
THEY'RE PRETTY SMART,

1155
00:51:05,896 --> 00:51:08,208
AND YOU DON'T WANT
TO TALK DOWN TO THEM.

1156
00:51:08,232 --> 00:51:10,277
BECAUSE KIDS
ARE REALLY SHARP,

1157
00:51:10,301 --> 00:51:12,345
AND THEY'RE...
THEY WANT TO LAUGH,

1158
00:51:12,369 --> 00:51:13,513
AND IF IT'S FUNNY,
IT'S FUNNY.

1159
00:51:13,537 --> 00:51:16,917
I USE MYSELF AS A YARDSTICK
FOR WHAT'S FUNNY,

1160
00:51:16,941 --> 00:51:20,186
AND I... HOPEFULLY
MILLIONS OF OTHER PEOPLE

1161
00:51:20,210 --> 00:51:23,323
HAVE THOUGHT IT WAS FUNNY TOO,
OVER THE YEARS, YEAH.

1162
00:51:23,347 --> 00:51:24,858
BUT A SHOW YOU CAN GO SEE

1163
00:51:24,882 --> 00:51:27,327
AND HAVE BREYERS
ICE CREAM AFTERWARDS

1164
00:51:27,351 --> 00:51:30,196
AND SIT DOWN WITH
YOUR HERO, BOZO?

1165
00:51:30,220 --> 00:51:32,299
I MEAN, THAT WAS
A GREAT MOMENT.

1166
00:51:32,323 --> 00:51:34,734
I THINK ALL OF US WHO
WORKED ON THAT SHOW

1167
00:51:34,758 --> 00:51:36,436
AND EVERYONE WHO WATCHED IT

1168
00:51:36,460 --> 00:51:41,074
PRETTY MUCH KNEW THAT AN ERA
WAS COMING TO AN END,

1169
00:51:41,098 --> 00:51:45,078
THAT WE WOULD NEVER SEE
ANYTHING LIKE THIS AGAIN.

1170
00:51:45,102 --> 00:51:48,381
Narrator: WHILE
THE PROGRAMS THEMSELVES

1171
00:51:48,405 --> 00:51:49,616
ARE ALL BUT GONE,

1172
00:51:49,640 --> 00:51:54,521
THE LEGACY OF THE LOCAL
CHILDREN'S TV SHOWS CONTINUES,

1173
00:51:54,545 --> 00:51:58,124
WOVEN INTO THE FABRIC OF
THE NATIONAL CONSCIOUSNESS,

1174
00:51:58,148 --> 00:52:02,329
A PART OF OUR LIVES EVERY DAY,

1175
00:52:02,353 --> 00:52:08,384
THANKS TO THE PIONEERS
OF TELEVISION.

1176
00:54:39,910 --> 00:54:43,189
<i>FOR MORE INSIDER FEATURES
ABOUT YOUR FAVORITE TV STARS,</i>

1177
00:54:43,213 --> 00:54:45,759
<i>STORIES YOU WON'T
HEAR ANYWHERE ELSE,</i>

1178
00:54:45,783 --> 00:54:49,515
<i>VISIT pbs.org.</i>