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Sesame Street

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Sesame Street
Genre
Created by
Theme music composer
Opening theme"Can You Tell Me How to Get to Sesame Street?"
Ending theme
  • "Can You Tell Me How to Get to Sesame Street?" (instrumental; up until season 45)
  • "Smarter, Stronger, Kinder" (season 46 onwards)
Country of originUnited States
Original languageEnglish
No.of seasons54
No.of episodes4701[note 1]
Production
Executive producers
Production locations
Running time
  • 60 minutes (1969–2015)
  • 30 minutes (2014–present)
Production companySesame Workshop[note 2]
Original release
Network
ReleaseNovember 10, 1969(1969-11-10)–
present

Sesame Streetis an Americaneducationalchildren's televisionseries that combineslive-action,sketch comedy,animation,andpuppetry.It is produced bySesame Workshop(known as the Children's Television Workshop until June 2000) and was created byJoan Ganz CooneyandLloyd Morrisett.It is known for its images communicated through the use ofJim Henson'sMuppets,and includes short films, with humor and cultural references. It premiered on November 10, 1969, to positive reviews, some controversy,[13]and high viewership. It has aired on theUnited Statesnationalpublic televisionproviderPBSsince its debut, with its first run moving topremium channelHBOon January 16, 2016, then its sister streaming service(HBO) Maxin 2020.

The show's format consists of a combination ofcommercial televisionproduction elements and techniques which have evolved to reflect changes in American culture and audiences' viewing habits. It was the first children's TV show to use educational goals and acurriculumto shape its content, and the first show whose educational effects were formally studied. Its format and content have undergone significant changes to reflect changes to its curriculum.

Shortly after its creation, its producers developed what came to be called the CTW Model (after the production company's previous name), a system of planning, production and evaluation based on collaboration between producers, writers, educators and researchers. The show was initially funded by government and private foundations, but has become somewhat self-supporting due to revenues from licensing arrangements, international sales and other media. By 2006, independently produced versions ( "co-productions") ofSesame Streetwere broadcast in 20 countries. In 2001, there were over 120 million viewers of various international versions ofSesame Street;and by its 40th anniversary in 2009, it was broadcast in more than 140 countries.

Since its debut,Sesame Streethas garnered praise. It was by then the 15th-highest-rated children's television show in the United States. A 1996 survey found that 95% of all Americanpreschoolershad watched it by the time they were three. In 2018, it was estimated that 86 million Americans had watched it as children. As of 2022, it has won 222Emmy Awardsand 11Grammy Awards,more than any other children's show.[14][15]Sesame Streetremains one of thelongest-running shows in the world.

History

Main article:History ofSesame Street

Sesame Streetwas conceived in 1966 during discussions between television producer Joan Ganz Cooney andCarnegie Foundationvice president Lloyd Morrisett. Their goal was to create a children's television show that would "master the addictive qualities of television and do something good with them,"[16]such as helping young children prepare for school. After two years of research, the newly formed Children's Television Workshop (CTW) received a combined grant of US$8million ($66 million in 2023 dollars)[17]from the Carnegie Foundation, theFord Foundation,theCorporation for Public Broadcastingand theU.S. federal governmentto create and produce a new children's television show.[18]

Sesame Streetwas officially announced at a press conference on May 6, 1969.Joan Ganz Cooney,Children's Television Workshop'sexecutive director,said thatSesame Streetwould use the techniques of commercial television programs to teach young children. Live shorts and animated cartoons would teach young children the Alpha bet, numbers, vocabulary, shapes, and basic reasoning skills. By repeating concepts throughout an episode, young children's interest would be held while they learn the concepts. Guest cameos would help attract older children and adults. Cooney said that the nameSesame Streetcame from the saying "open sesame",which gives the idea of a place where exciting things occur. The show was given an initial six-month run in order to determine whether it was effective and would continue to air.[19]

The program premiered onpublic televisionstations on November 10, 1969.[20]It was the first preschool educational television program to base its contents and production values on laboratory and formative research.[21]Initial responses to the show included adulatory reviews, some controversy,[13]and high ratings.

Black and white photo of a smiling woman about fifty years of age and wearing a jacket and tied-up scarf
Co-creatorJoan Ganz Cooney.Pictured 1985
Lloyd Morrisett,co-creator. Pictured 2010

I've always said of our original team that developed and producedSesame Street:Collectively, we were a genius.

—Sesame StreetcreatorJoan Ganz Cooney[22]

According to writer Michael Davis, by the mid-1970s the show had become "an American institution."[23]The cast and crew expanded during this time, with emphasis on the hiring of women crew members and the addition of minorities to the cast. The show's success continued into the 1980s. In 1981, when the federal government withdrew its funding, CTW turned to and expanded other revenue sources, including its magazine division, bookroyalties,product licensing, and foreign broadcast income.[24]Its curriculum has expanded to include moreaffectivetopics such as relationships, ethics and emotions. Many of its storylines have been inspired by the experiences of its writing staff, cast and crew—most notably, the 1982 death ofWill Lee,who playedMr. Hooper;[25]and the marriage of Luis and Maria in 1988.[26]

By the end of the 1990s, the show faced societal and economic challenges, including changes in young children's viewing habits, competition from other shows, the development of cable television, and a drop in ratings.[27]As the 21st century began, the show made major changes. Starting in 2002, its format became more narrative-focused and included ongoing storylines. After its 30th anniversary in 1999, due to the popularity of the MuppetElmo,the show also incorporated a popular segment known asElmo's World.[28]In 2009, the show won the Outstanding Achievement Emmy for its 40 years on the air.[29]

In late 2015, in response to "sweeping changes in the media business"[30]and as part of a five-year programming and development deal,premium televisionserviceHBObegan airing first-run episodes ofSesame Street.The episodes became available on PBS stations and websites nine months after they aired on HBO.[30]The deal allowed Sesame Workshop to produce more episodes—increasing from 18 to 35 per season—and to create a spinoff series with theSesame StreetMuppets, and a new educational series.[31]

At its 50th anniversary in 2019,Sesame Streethad produced over 4,500 episodes, two feature-length movies (Follow That Birdin 1985 andThe Adventures of Elmo in Grouchlandin 1999), 35 TV specials, 200 home videos, and 180 albums.[15]ItsYouTubechannel has almost five million subscribers.[32]It was announced in October 2019 that first-run episodes will move toHBO Maxbeginning with the show's 51st season in 2020.[33]

Format

Main article:Format ofSesame Street

From its first episode,Sesame Street's format has utilized "a strong visual style, fast-moving action, humor, and music," as well as animation and live-action short films.[34]When it premiered, most researchers believed that young children did not have longattention spans,and the show's producers were concerned that an hour-long show would not hold their attention. At first, its "street scenes" —the action recorded on its set—consisted of character-driven interactions. Rather than ongoing stories, they were written as individual, curriculum-based segments interrupted by "inserts" of puppet sketches, short films and animations. This structure allowed producers to use a mixture of styles and characters, and to vary its pace, presumably keeping it interesting to young viewers. However, by season 20, research showed that children were able to follow a story—and the street scenes, while still interspersed with other segments, became evolving storylines.[35][36]

We basically deconstructed the show. It's not a magazine format anymore. It's more like theSesamehour. Children will be able to navigate through it easier.

—Executive producer Arlene Sherman, speaking of the show's restructuring in 2002[28]

On recommendations bychild psychologists,the producers initially decided that the show's human actors and Muppets would not interact because they were concerned it would confuse young children.[37]When CTW tested the new show, they found that children paid attention during the Muppet segments, and that their interest was lost during the "Street" segments.[38]They requested that Henson and his team create Muppets such asBig BirdandOscar the Grouchto interact with the human actors, and the Street segments were re-shot.[39][40]

Sesame Street's format remained intact until the 2000s, when the changing audience required that producers move to a more narrative format. In 1998, the popular "Elmo's World," a 15-minute-long segment hosted by the Muppet Elmo, was created.[41]Starting in 2014, during the show's 45th season, the producers introduced a half-hour version of the program.[42][43][44]The new version, which originally complemented the full-hour series, was broadcast weekday afternoons and streamed on the Internet.[42]In 2017, in response to the changing viewing habits of toddlers, the show's producers decreased the show's length from one hour to 30 minutes across all its broadcast platforms. The new version focused on fewer characters, reduced pop culture references "once included as winks for their parents", and focused "on a single backbone topic."[45]

Educational goals

Main article:Educational goals ofSesame Street
TheSesame Streetsignpost

AuthorMalcolm Gladwellsaid that "Sesame Streetwas built around a single, breakthrough insight: that if you can hold the attention of children, you can educate them. "[46]Gerald S. Lesser,the CTW's first advisory board chair, went even further, saying that the effective use of television as an educational tool needed to capture, focus, and sustain children's attention.[47]Sesame Streetwas the first children's show to structure each episode, and the segments within them, to capture children's attention, and to make, as Gladwell put it, "small but critical adjustments" to keep it.[48]According to CTW researchers Rosemarie Truglio and Shalom Fisch, it was one of the few children's shows to utilize a detailed and comprehensive educational curriculum, garnered fromformativeandsummativeresearch.[49]

Sesame Street's creators and researchers formulated bothcognitiveandaffectivegoals for the show. They initially focused on cognitive goals, while addressing affective goals indirectly, believing it would increase children's self-esteem and feelings of competency.[50]One of their primary goals was preparing young children for school, especially children fromlow-incomefamilies,[51]usingmodeling,[52]repetition,[53]and humor.[47]They adjusted its content to increase viewers' attention and the show's appeal,[54]and encouraged older children and parents to "co-view" it by including more sophisticated humor, cultural references, and celebrity guests; by 2019, 80% of parents watchedSesame Streetwith their children, and 650 celebrities had appeared on the show.[15][55][56]

First LadyBarbara Bushparticipates withBig Birdin an educational taping ofSesame Streetat United Studios, 1989.
First LadyMichelle Obamaparticipates in aLet's Move!andSesame Streetpublic service announcement taping withBig Birdin the White House Kitchen, 2013.
Deputy Secretary of StateAntony BlinkenmeetsGroverto discuss refugees at the United Nations in New York City, 2016.

DuringSesame Street's first season, some critics felt that it should address more overtly such affective goals as social competence, tolerance ofdiversity,and nonaggressive ways of resolving conflict. The show's creators and producers responded by featuring these themes in interpersonal disputes between its Street characters.[57]During the 1980s, the show incorporated real-life experiences of its cast and crew, including the death ofWill Lee(Mr. Hooper) and the pregnancy ofSonia Manzano(Maria).[25]In later seasons, it addressed real-life disasters such as theSeptember 11 terrorist attacksandHurricane Katrina.[58]

In its first season, the show addressed its outreach goals by focusing on the promotion of educational materials used in preschool settings; and in subsequent seasons, by focusing on their development. Innovative programs were developed because their target audience, children and their families in low-income, inner-city homes, did not traditionally watch educational programs on television and because traditional methods of promotion and advertising were not effective with these groups.[59]

Starting in 2006, the Workshop expanded its outreach by creating a series of PBS specials and DVDs focusing on how military deployment affects the families of servicepeople.[60]Its outreach efforts also focused on families of prisoners, health and wellness, and safety.[61]In 2013, SW started Sesame Street in Communities, to help families dealing with difficult issues.[62]

Funding

As a result of Cooney's initial proposal in 1968, the Carnegie Institute awarded her a $1 million grant to create a new children's television program and establish the CTW,[16][18][63]renamed in June 2000 toSesame Workshop(SW). Cooney and Morrisett procured additional multimillion-dollar grants from the U.S. federal government,The Arthur Vining Davis Foundations,CPB,and theFord Foundation.Davis reported that Cooney and Morrisett decided that if they did not procure full funding from the beginning, they would drop the idea of producing the show.[64]As Lesser reported, funds gained from a combination of government agencies and private foundations protected them from the economic pressures experienced by commercial broadcast television networks, but created challenges in procuring future funding.[65]

AfterSesame Street's initial success, its producers began to think about its survival beyond its development and first season and decided to explore other funding sources. From the first season, they understood that the source of their funding, which they considered "seed" money, would need to be replaced.[66]The 1970s were marked by conflicts between the CTW and the federal government; in 1978, theU.S. Department of Educationrefused to deliver a $2 million check (equivalent to $9.34 million in 2023) until the last day of CTW's fiscal year. As a result, the CTW decided to depend upon licensing arrangements with toy companies and other manufacturers, publishing, and international sales for their funding.[24]

In 1998, the CTW acceptedcorporate sponsorshipto raise funds forSesame Streetand other projects. For the first time, they allowed short advertisements by indoor playground manufacturerDiscovery Zone,their first corporate sponsor, to air before and after each episode. Consumer advocateRalph Nader,who had previously appeared onSesame Street,called for a boycott of the show, saying that the CTW was "exploiting impressionable children."[20]In 2015, in response to funding challenges, it was announced thatpremium televisionserviceHBOwould air first-run episodes ofSesame Street.[30]Steve Youngwood, SW's Chief Operating Officer, called the move "one of the toughest decisions we ever made."[67]According toThe New York Times,the move "drew an immediate backlash."[31]Critics claimed that it favored privileged children over less-advantaged children and their families, the original focus of the show. They also criticized choosing to air first-run episodes on HBO, a network with adult dramas and comedies.[31][68]

Production

Research

Main article:Sesame Streetresearch

Producer Joan Ganz Cooney has stated, "Without research, there would be noSesame Street."[69]In 1967, when she and her team began planning the show's development, combining research with television production was, as she put it, "positively heretical."[69]Its producers soon began developing what came to be called the CTW Model, a system of planning, production and evaluation that did not fully emerge until the end of the show's first season.[70][note 3]According to Morrow, the Model consisted of four parts: "the interaction of receptive television producers andchild scienceexperts, the creation of a specific and age-appropriate curriculum, research to shape the program directly, and independent measurement of viewers' learning. "[70]

Cooney credited the show's high standard in research procedures to Harvard professorsGerald S. Lesser,whom CTW hired to design its educational objectives; andEdward L. Palmer,who conducted the show's formative research and bridged the gap between producers and researchers.[71]CTW conducted research in two ways: in-house formative research that informed and improved production;[72]and independent summative evaluations, conducted by theEducational Testing Service(ETS) during the first two seasons, which measured its educational effectiveness.[21]Cooney said, "From the beginning, we—the planners of the project—designed the show as an experimental research project with educational advisers, researchers, and television producers collaborating as equal partners."[73]She characterized the collaboration as an "arranged marriage."[69]

Writing

Sesame Streethas used many writers in its long history. As Peter Hellman wrote in his 1987 article inNew York Magazine,"The show, of course, depends upon its writers, and it isn't easy to find adults who could identify the interest level of a pre-schooler."[25]Fifteen writers a year worked on the show's scripts, but very few lasted longer than one season.Norman Stiles,head writer in 1987, reported that most writers would "burn out" after writing about a dozen scripts.[25]According to Gikow,Sesame Streetwent against the convention of hiring teachers to write for the show, as most educational television programs did at the time. Instead, Cooney and the producers felt that it would be easier to teach writers how to interpret curriculum than to teach educators how to write comedy.[74]As Stone stated, "Writing for children is not so easy."[74]Long-time writer Tony Geiss agreed, stating in 2009, "It's not an easy show to write. You have to know the characters and the format and how to teach and be funny at the same time, which is a big, ambidextrous stunt."[75]

Facade of a large white building, the left having large pillars beneath a strip with dozens of windows and the right three stories of large windows.
TheKaufman Astoria Studios,whereSesame Streetis taped

The show's research team developed an annotated document, or "Writer's Notebook," which served as a bridge between the show's curriculum goals and script development.[76]The notebook was a compilation of programming ideas designed to teach specific curriculum points,[77]provided extended definitions of curriculum goals, and assisted the writers and producers in translating the goals into televised material.[78]Suggestions in the notebook were free of references to specific characters and contexts on the show so that they could be implemented as openly and flexibly as possible.[79]

The research team, in a series of meetings with the writers, also developed "a curriculum sheet" that described the show's goals and priorities for each season. After receiving the curriculum focus and goals for the season, the writers met to discuss ideas and story arcs for the characters, and an "assignment sheet" was created that suggested how much time was allotted for each goal and topic.[76][80]When a script was completed, the show's research team analyzed it to ensure that the goals were met. Then each production department met to determine what each episode needed in terms of costumes, lights, and sets. The writers were present during the show's taping, which for the first twenty-four years of the show took place inManhattan,and after 1992, at theKaufman Astoria StudiosinQueensto make last-minute revisions when necessary.[81][82][83][note 4]

Media

Main articles:Sesame Workshop § Funding sources,Music ofSesame Street,andSesame Streetinternational co-productions

Early in their historySesame Streetand the CTW began to look for alternative funding sources and turned to creating products and writing licensing agreements. They became, as Cooney put it, "a multiple-media institution."[86]In 1970, the CTW created a "non-broadcast" division responsible for creating and publishing books andSesame Street Magazine.[87]By 2019, the Sesame Workshop had published over 6,500 book titles.[32]The Workshop decided from the start that all materials their licensing program created would "underscore and amplify"[88][89]the show's curriculum. In 2004, over 68% ofSesame Street's revenue came from licenses and products such as toys and clothing.[90][note 5]By 2008, theSesame StreetMuppets accounted for between $15 million and $17 million per year in licensing and merchandising fees, split between the Sesame Workshop and The Jim Henson Company.[91]By 2019, the Sesame Workshop had over 500 licensing agreements and had produced over 200 hours of home video.[15][32]There have been two theatrically releasedSesame Streetmovies,Follow That Bird,released in 1985, andElmo in Grouchland,released in 1999. In early 2019, it was announced that a third film, a musical co-starringAnne Hathawayand written and directed byJonathan Krisel,would be produced.[92]In November 2019, Sesame Street announced a family friendlyaugmented realityapplication produced by Weyo in partnership withSesame Workshopin honor of the show's 50th anniversary.[93]

Jim Henson,the creator of the Muppets, owned thetrademarksto those characters, and was reluctant to market them at first. He agreed when the CTW promised that the profits from toys, books,computer games,and other products were to be used exclusively to fund the CTW and its outreach efforts.[66][94]Even though Cooney and the CTW had very little experience with marketing, they demanded complete control over all products and product decisions.[88]Any product line associated with the show had to be educational and inexpensive, and could not be advertised during the show's airings.[95]As Davis reported, "Cooney stressed restraint, prudence, and caution" in their marketing and licensing efforts.[95][note 6]

Director Jon Stone, talking about the music ofSesame Street,said: "There was no other sound like it on television."[96]For the first time in children's television, the show's songs fulfilled a specific purpose and supported its curriculum.[97]In order to attract the best composers and lyricists, the CTW allowed songwriters likeJoe Raposo,Sesame Street's first musical director, to retain the rights to the songs they wrote, which earned them lucrative profits and helped the show sustain public interest.[98]By 2019, there were 180 albums ofSesame Streetmusic produced, and its songwriters had received 11Grammys.[15][32]In late 2018, the SW announced a multi-year agreement withWarner Music Groupto re-launch Sesame Street Records in the U.S. and Canada. For the first time in 20 years, "an extensive catalog ofSesame Streetrecordings "was made available to the public in a variety of formats, including CD and vinyl compilations, digital streaming, and downloads.[99]

Sesame Streetused animations and short films commissioned from outside studios,[100]interspersed throughout each episode, to help teach their viewers basic concepts like numbers and letters.[101]Jim Henson was one of the many producers to create short films for the show.[100]Shortly afterSesame Streetdebuted in the United States, the CTW was approached independently by producers from several countries to produce versions of the show at home. These versions came to be called "co-productions."[102]By 2001 there were over 120 million viewers of all international versions ofSesame Street,[103]and in 2006, there were twenty co-productions around the world.[104]By its 50th anniversary in 2019, 190 million children viewed over 160 versions ofSesame Streetin 70 languages.[15][105]In 2005, Doreen Carvajal ofThe New York Timesreported that income from the co-productions and international licensing accounted for $96 million.[90]

Musical

Sesame Street the Musicalopened atTheatre Rowoff Broadway on September 8, 2022.[106][107]

Cast, crew and characters

Main articles:List ofSesame StreetMuppetsandList of humanSesame Streetcharacters
Jim Henson in 1989.
Jim Henson,creator ofthe Muppets,in 1989
Caroll SpinneywithOscar the Grouch

Shortly after the CTW was created in 1968, Joan Ganz Cooney was named its first executive director. She was one of the first female executives in American television. Her appointment was called "one of the most important television developments of the decade."[108]She assembled a team of producers, all of whom had previously worked onCaptain Kangaroo.Jon Stonewas responsible for writing, casting, and format; Dave Connell took over animation; and Sam Gibbon served as the show's chief liaison between the production staff and the research team.[109]Cameraman Frankie Biondo has worked onSesame Streetfrom its first episode in 1969.[110]

Jim Henson and the Muppets' involvement inSesame Streetbegan when he and Cooney met at one of the curriculum planning seminars in Boston. Author Christopher Finch reported that Stone, who had worked with Henson previously, felt that if they could not bring him on board, they should "make do without puppets."[18]Henson was initially reluctant, but he agreed to joinSesame Streetto meet his own social goals. He also agreed to waive his performance fee for full ownership of theSesame StreetMuppets and to split any revenue they generated with the CTW.[91]As Morrow stated, Henson's puppets were a crucial part of the show's popularity and it brought Henson national attention.[111]Davis reported that Henson was able to take "arcane academic goals" and translate them to "effective and pleasurable viewing."[112]In early research, the Muppet segments of the show scored high, and more Muppets were added during the first few seasons. Morrow reported that the Muppets were effective teaching tools because children easily recognized them, they were stereotypical and predictable, and they appealed to adults and older siblings.[113]

Sesame Streetis best known for the creative geniuses it attracted, people like Jim Henson and Joe Raposo and Frank Oz, who intuitively grasped what it takes to get through to children. They were television's answer to Beatrix Potter or L. Frank Baum or Dr. Seuss.

—AuthorMalcolm Gladwell,The Tipping Point[114]

Although the producers decided against depending upon a single host forSesame Street,instead casting a group of ethnically diverse actors,[115]they realized that a children's television program needed to have, as Lesser put it, "a variety of distinctive and reliable personalities,"[116]both human and Muppet. Jon Stone, whose goal was to cast white actors in the minority,[25]was responsible for hiring the show's firstcast.He did not audition actors until Spring 1969, a few weeks before the five test shows were due to be filmed. Stone videotaped the auditions, and Ed Palmer took them out into the field to test children's reactions. The actors who received the "most enthusiastic thumbs up" were cast.[117]For example,Loretta Longwas chosen to playSusanwhen the children who saw her audition stood up and sang along with her rendition of "I'm a Little Teapot."[117][118]Stone stated that casting was the only aspect of the show that was "just completely haphazard."[89]Most of the cast and crew found jobs onSesame Streetthrough personal relationships with Stone and the other producers.[89]According to puppeteerMarty Robinsonin 2019, longevity was common among the show's cast and crew.[32]

According to the CTW's research, children preferred watching and listening to other children more than to puppets and adults, so they included children in many scenes.[119]Dave Connell insisted that no child actors be used,[120]so these children were non-professionals, unscripted, and spontaneous. Many of their reactions were unpredictable and difficult to control, but the adultcastlearned to handle the children's spontaneity flexibly, even when it resulted in departures from the planned script or lesson.[121]CTW research also revealed that the children's hesitations and on-air mistakes served as models for viewers.[122]According to Morrow, this resulted in the show having a "fresh quality," especially in its early years.[120]

Reception

Main article:Influence ofSesame Street

Ratings

WhenSesame Streetpremiered on November 10, 1969, it aired on only 67.6% of American televisions, but it earned a 3.3Nielsenrating, which totaled 1.9 million households.[123]By the show's tenth anniversary in 1979, nine million American children under the age of 6 were watchingSesame Streetdaily. According to a 1993 survey conducted by the U.S. Department of Education, out of the show's 6.6 million viewers, 2.4 million kindergartners regularly watched it. 77% of preschoolers watched it once a week, and 86% of kindergartners and first- and second-grade students had watched it once a week before starting school. The show reached most young children in almost all demographic groups.[124]

The show's ratings significantly decreased in the early 1990s, due to changes in children's viewing habits and in the television marketplace. The producers responded by making large-scale structural changes to the show.[125]By 2006,Sesame Streethad become "the most widely viewed children's television show in the world," with 20 international independent versions and broadcasts in over 120 countries.[126]A 1996 survey found that 95% of all American preschoolers had watched the show by the time they were three years old.[127]In 2008, it was estimated that 77 million Americans had watched the series as children.[126]By the show's 40th anniversary in 2009, it was ranked the fifteenth-most-popular children's show on television, and by its 50th anniversary in 2019, the show had 100% brand awareness globally. In 2018, the show was the second-highest-rated program on PBS Kids.[128][105]In 2021, however, the Sesame Street documentary "50 Years of Sunny Days," which was broadcast nationally on ABC, did not fare well in the ratings,[129]scoring only approximately 2.3 million viewers.[130]

Influence

Main article:Sesame Streetresearch#Summative research

As of 2001,there were over 1,000 research studies regardingSesame Street's efficacy, impact, and effect on American culture.[71]The CTW solicited theEducational Testing Service(ETS) to conduct summative research on the show.[131]ETS's two "landmark"[132]summative evaluations, conducted in 1970 and 1971, demonstrated that the show had a significant educational impact on its viewers.[133]These studies have been cited in other studies of the effects of television on young children.[131][note 7]Additional studies conducted throughoutSesame Street's history demonstrated that the show continued to have a positive effect on its young viewers.[note 8]

Sesame Street[is] perhaps the most vigorously researched, vetted, and fretted-over program on the planet. It would take a fork-lift to now to haul away the load of scholarly paper devoted to the series...

—Author Michael Davis[134]

Lesser believed thatSesame Streetresearch "may have conferred a new respectability upon the studies of the effects of visual media upon children."[135]He also believed that the show had the same effect on the prestige of producing shows for children in the television industry.[135]Historian Robert Morrow, in his bookSesame Street and the Reform of Children's Television,which chronicled the show's influence on children's television and on the television industry as a whole, reported that many critics of commercial television sawSesame Streetas a "straightforward illustration for reform."[136]Les Brown, a writer forVariety,saw inSesame Street"a hope for a more substantial future" for television.[136]

Morrow reported that the networks responded by creating more high-quality television programs, but that many critics saw them as "appeasement gestures."[137]According to Morrow, despite the CTW Model's effectiveness in creating a popular show, commercial television "made only a limited effort to emulate CTW's methods," and did not use a curriculum or evaluate what children learned from them.[138]By the mid-1970s commercial television had abandoned their experiments with creating better children's programming.[139]Other critics hoped thatSesame Street,with its depiction of a functioning, multicultural community, would nurture racial tolerance in its young viewers.[140]It was not until the mid-1990s that another children's television educational program,Blue's Clues,used the CTW's methods to create and modify their content. The creators ofBlue's Clueswere influenced bySesame Street,but wanted to use research conducted in the 30 years since its debut. Angela Santomero, one of its producers, said, "We wanted to learn fromSesame Streetand take it one step further. "[141]

CriticRichard Roepersaid that perhaps one of the strongest indicators of the influence ofSesame Streethas been the enduring rumors and urban legends surrounding the show and its characters, especially speculation concerning the sexuality ofBert and Ernie.[142][143]

Critical reception

Sesame Streetwas praised from its debut in 1969.Newsdayreported that several newspapers and magazines had written "glowing" reports about the CTW and Cooney.[123]The press overwhelmingly praised the new show; several popular magazines and niche magazines lauded it.[144]In 1970,Sesame Streetwon twenty awards, including aPeabody Award,three Emmys, an award from thePublic Relations Society of America,aClio,and a Prix Jeunesse.[145]By 1995, the show had won two Peabody Awards and fourParents' Choice Awards.It was the subject of a traveling exhibition by theSmithsonian Institution,[146]and a film exhibition at theMuseum of Modern Art.[147]

Sesame Streetis... with lapses, the most intelligent and important program in television. That is not anything much yet.

—Renata Adler,The New Yorker,1972[148]

Sesame Workshop CEOGary Knell,Executive Vice-president Terry Fitzpatrick, and puppeteerKevin Clash(withElmo) at the 69th AnnualPeabody Awards,in 2010

Sesame Streetwas not without its detractors, however. The state commission inMississippi,where Henson was from, operated the state's PBSmember station;in May 1970 it voted to not airSesame Streetbecause of its "highly [racially] integrated cast of children" which "the commission members felt... Mississippi was not yet ready for."[149][150]According toChildren and Television,Lesser's account of the development and early years ofSesame Street,there was little criticism of the show in the months following its premiere, but it increased at the end of its first season and beginning of the second season.[151][note 9]Historian Robert W. Morrow speculated that much of the early criticism, which he called "surprisingly intense,"[13]stemmed from cultural and historical reasons in regards to, as he put it, "the place of children in American society and the controversies about television's effects on them."[13]

According to Morrow, the "most important" studies finding negative effects ofSesame Streetwere conducted by educator Herbert A. Sprigle and psychologistThomas D. Cookduring its first two seasons.[152]Social scientist andHead StartfounderUrie Bronfenbrennercriticized the show for being too wholesome.[153]PsychologistLeon EisenbergsawSesame Street's urban setting as "superficial" and having little to do with the problems confronted by the inner-city child.[154]Head Start directorEdward Ziglerwas probablySesame Street's most vocal critic in the show's early years.[155]

In spite of their commitment to multiculturalism, the CTW experienced conflicts with the leadership of minority groups, especially Latino groups and feminists, who objected toSesame Street's depiction of Latinos and women.[156]The CTW took steps to address their objections. By 1971, the CTW hired Hispanic actors, production staff, and researchers, and by the mid-1970s, Morrow reported that "the show included Chicano and Puerto Rican cast members, films about Mexican holidays and foods, and cartoons that taught Spanish words."[157]AsThe New York Timeshas stated, creating strong female characters "that make kids laugh, but not...as female stereotypes" has been a challenge for the producers ofSesame Street.[158]According to Morrow, change regarding how women and girls were depicted onSesame Streetoccurred slowly.[159]As more female Muppet performers likeCamille Bonora,Fran Brill,Pam Arciero,Carmen Osbahr,Stephanie D'Abruzzo,Jennifer Barnhart,andLeslie Carrara-Rudolphwere hired and trained, stronger female characters likeRosita(1991) andAbby Cadabby(2006) were created.[160][161]

In 2002,Sesame Streetwas ranked number 27 onTV Guide's 50 Greatest TV Shows of All Time.[162]Sesame Workshop won a Peabody Award in 2009 for its website, sesamestreet.org,[163]and the show was given Peabody's Institutional Award in 2019 for 50 years of educating and entertaining children globally.[164]In 2013,TV Guideranked the show number 30 on its list of the 60 best TV series.[165]As of 2021,Sesame Streethas received 205 Emmy Awards,more than any other television series.[166]In 2023,VarietyrankedSesame Street#12 on its list of the 100 greatest TV shows of all time.[167]

See also

References

Informational notes

  1. ^Season 44 (2013–2014) was the first time episodes were numbered in a seasonal order rather than the numerical and chronological fashion used since the show premiered. For example, episode 4401 means "the first episode of the 44th season", not "the 4401st episode" (it is in fact the 4328th episode).
  2. ^Known as Children's Television Workshop until 2000.
  3. ^See Gikow, p. 155, for a visual representation of the CTW model.
  4. ^Most of the first season was filmed at a studio nearBroadway,but a strike forced their move toTeletape Studios.In the early days, the set was simple, consisting of four structures.[84]In 1982,Sesame Streetbegan filming at Unitel Studios on 57th Street, but relocated to Kaufman Astoria Studios in 1993, when the producers decided they needed more space.[85]
  5. ^See Gikow, pp. 280–285 for a list of many of the show's products.
  6. ^According toParade Magazinein 2019, 1 million children played withSesame Streettoys daily.[15]
  7. ^According to Edward Palmer and his colleague Shalom M. Fisch, these studies were responsible for securing funding for the show over the next several years.[133]
  8. ^See Gikow, pp. 284–285;"G" Is for Growing: Thirty Years of Research on Children and Sesame Street,pp. 147–230.
  9. ^See Lesser, pp. 175–201 for his response to the early critics ofSesame Street.

Citations

  1. ^"Sesame Street season 1 End Credits (1969-70)".YouTube.RetrievedJune 18,2020.
  2. ^"Sesame Street season 3 End Credits (1971-72)".YouTube.RetrievedJune 18,2020.
  3. ^"Sesame Street season 4 End Credits (1972-73)".YouTube.October 7, 2014.Archivedfrom the original on December 11, 2021.RetrievedJune 18,2020.
  4. ^"Sesame Street season 9 end credits (1977-78)".YouTube.Archived fromthe originalon January 22, 2020.RetrievedJune 18,2020.
  5. ^"Sesame Street season 10 end credits (1978-79)".YouTube.Archived fromthe originalon October 8, 2012.RetrievedJune 18,2020.
  6. ^"Sesame Street season 12 end credits (1980-81)".YouTube.August 24, 2015.Archivedfrom the original on December 11, 2021.RetrievedJune 18,2020.
  7. ^"Sesame Street season 24 (#3010) closing & funding credits (1992) [" Dancing City "debut]".YouTube.April 3, 2019.Archivedfrom the original on December 11, 2021.RetrievedJune 18,2020.
  8. ^"Sesame Street - Season 25 End Credits (1993-1994)".YouTube.May 24, 2014.Archivedfrom the original on December 11, 2021.RetrievedJune 18,2020.
  9. ^"Elmo Writes a Story - Sesame Street Full Episode (credits start at 55:37)".YouTube.Sesame Street. May 3, 2019.Archivedfrom the original on December 11, 2021.RetrievedJune 18,2020.
  10. ^"Sesame Street Season 34 credits & fundings (version #1)".YouTube.February 4, 2017.Archivedfrom the original on December 11, 2021.RetrievedJune 18,2020.
  11. ^"Elmo and Zoe Play the Healthy Food Game - Sesame Street Full Episodes (credits start at 52:50)".YouTube.Sesame Street. July 13, 2018.Archivedfrom the original on December 11, 2021.RetrievedJune 18,2020.
  12. ^"PBS Kids Program Break (2006 WFWA-TV)".YouTube.January 6, 2017.Archivedfrom the original on December 11, 2021.RetrievedJune 18,2020.
  13. ^abcdMorrow, p. 3
  14. ^"Sesame Street Co-Founder Lloyd Morrisett Dies Aged 93".No.Virgin Radio UK.January 25, 2023.RetrievedApril 13,2023.
  15. ^abcdefgWallace, Debra (February 6, 2019)."Big Bird Has 4,000 Feathers: 21 Fun Facts About Sesame Street That Will Blow Your Mind".Parade.RetrievedApril 11,2019.
  16. ^abDavis, p. 8
  17. ^1634–1699:McCusker, J. J.(1997).How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda(PDF).American Antiquarian Society.1700–1799:McCusker, J. J.(1992).How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States(PDF).American Antiquarian Society.1800–present:Federal Reserve Bank of Minneapolis."Consumer Price Index (estimate) 1800–".RetrievedFebruary 29,2024.
  18. ^abcFinch, p. 53
  19. ^Subber, Barbara (May 7, 1969). "New ETV Show for Preschooler To Use 'Commercial' Techniques".The Morning Call(Allentown, Pennsylvania). p. 51.
  20. ^abBrooke, Jill (November 13, 1998)."'Sesame Street' Takes a Bow to 30 Animated Years ".The New York Times.RetrievedMarch 11,2019.
  21. ^abPalmer & Fisch in Fisch & Truglio, p. 9
  22. ^Gikow, p. 26
  23. ^Davis, p. 220
  24. ^abO'Dell, pp. 73–74
  25. ^abcdeHellman, Peter (November 23, 1987)."Street Smart: How Big Bird & Company Do It".New York Magazine.20(46): 52.ISSN0028-7369.RetrievedMarch 12,2019.
  26. ^Borgenicht, p. 80
  27. ^Davis, p. 320
  28. ^abGoodman, Tim (February 4, 2002)."Word on the 'Street': Classic children's show to undergo structural changes this season".San Francisco Chronicle.RetrievedOctober 18,2019.
  29. ^Eng, Joyce (August 28, 2009)."Guiding Light, Sesame Street to Be Honored at Daytime Emmys".TV Guide.RetrievedOctober 18,2019.
  30. ^abcPallotta, Frank; Stelter, Brian (August 13, 2015)."'Sesame Street' is heading to HBO ".CNN.RetrievedApril 23,2019.
  31. ^abcSteel, Emily (August 13, 2015)."'Sesame Street' to Air First on HBO for Next 5 Seasons ".The New York Times.RetrievedApril 23,2019.
  32. ^abcdeGuthrie, Marisa (February 6, 2019)."50 Years of Sunny Days on 'Sesame Street': Behind the Scenes of TV's Most Influential Show Ever".The Hollywood Reporter.RetrievedMarch 11,2019.
  33. ^Alexander, Julia (October 3, 2019)."HBO Max locks down exclusive access to new Sesame Street episodes".The Verge.RetrievedOctober 3,2019.
  34. ^O'Dell, p. 70
  35. ^Morrow, p. 87
  36. ^Gikow, p. 179
  37. ^Fisch & Bernstein, p. 39
  38. ^Gladwell, p. 105
  39. ^Gladwell, p. 106
  40. ^Fisch & Bernstein, pp. 39–40
  41. ^Clash, p. 75
  42. ^abDockterman, Eliana (June 18, 2014)."We're Getting a Half-Hour Version of Sesame Street".Time.Archivedfrom the original on January 13, 2022.RetrievedJanuary 13,2022.
  43. ^"PBS KIDS to Add New Half-hour SESAME STREET Program on Air and on Digital Platforms This Fall".PBS Pressroom.June 18, 2014.Archivedfrom the original on January 13, 2022.RetrievedJanuary 13,2022.
  44. ^Jensen, Elizabeth (June 17, 2014)."PBS Plans to Add a Shorter Version of 'Sesame Street'".The New York Times.ISSN0362-4331.Archived fromthe originalon June 20, 2014.RetrievedJanuary 13,2022.
  45. ^Harwell, Drew (January 12, 2016)."Sesame Street, newly revamped for HBO, aims for toddlers of the Internet age".The Washington Post.RetrievedMay 15,2019.
  46. ^Gladwell, p. 100
  47. ^abLesser, p. 116
  48. ^Gladwell, p. 91
  49. ^Fisch, Shalom M.; Rosemarie T. Truglio (2001). "Why Children Learn from Sesame Street". In Shalom M. Fisch; Rosemarie T. Truglio (eds.)."G" is for Growing: Thirty Years of Research on Children and Sesame Street.Mahweh, New Jersey: Lawrence Erlbaum Publishers. p.234.ISBN0-8058-3395-1.
  50. ^Morrow, pp. 76, 106
  51. ^Lesser, p. 46
  52. ^Lesser, pp. 86–87
  53. ^Lesser, p. 107
  54. ^Lesser, p. 87
  55. ^"'Sesame Street' Draws in Adults with Pop Culture Parodies ".yahoo.October 30, 2013.RetrievedAugust 13,2022.
  56. ^Truglio, Rosemarie T.; Kotler, Jennifer A. (2013)."Language, Literacy, and Media: What's the Word on Sesame Street?".In Gershoff, E. T.; Mistry, R. S.; Crosby, D. A. (eds.).Societal Contexts of Child Development: Pathways of Influence and Implications for Practice and Policy.pp. 188–202.doi:10.1093/acprof:oso/9780199943913.003.0012.
  57. ^Huston, Aletha C; Daniel R. Anderson; John C. Wright; Deborah Linebarger; Kelly L. Schmidt (2001). ""Sesame StreetViewers as Adolescents: The Recontact Study ". In Shalom M. Fisch; Rosemarie T. Truglio (eds.)."G" is for Growing: Thirty Years of Research on Children and Sesame Street.Mahweh, New Jersey: Lawrence Erlbaum Publishers. p.133.ISBN0-8058-3395-1.
  58. ^Gikow, p. 165
  59. ^Gikow, p. 181
  60. ^Gikow, pp. 280–281
  61. ^Gikow, pp. 286–293
  62. ^Chandler, Michael Alison (October 6, 2017)."Sesame Street launches tools to help children who experience trauma, from hurricanes to violence at home".The Washington Post.RetrievedJune 27,2019.
  63. ^Palmer & Fisch in Fisch & Truglio, p. 3
  64. ^Davis, p. 105
  65. ^Lesser, p. 17
  66. ^abDavis, p. 203
  67. ^Guthrie, Marisa (February 6, 2019)."Where 'Sesame Street' Gets Its Funding — and How It Nearly Went Broke".The Hollywood Reporter.RetrievedJune 28,2019.
  68. ^Luckerson, Victor (August 13, 2019)."This Is Why HBO Really Wants Sesame Street".Time.RetrievedApril 23,2019.
  69. ^abcCooney in Fisch & Truglio, p. xi
  70. ^abMorrow, p. 68
  71. ^abCooney in Fisch & Truglio, p. xii
  72. ^Mielke in Fisch & Truglio, pp. 84–85
  73. ^Borgenicht, p. 9
  74. ^abGikow, p. 178
  75. ^Gikow, p. 174
  76. ^abLesser, p. 101
  77. ^Morrow, p. 82
  78. ^Palmer & Fisch in Fisch & Truglio, p. 10
  79. ^Palmer & Fisch in Fisch & Truglio, p. 11
  80. ^Lesser, Gerald S.; Joel Schneider (2001). "Creation and Evolution of theSesame StreetCurriculum ". In Shalom M. Fisch; Rosemarie T. Truglio (eds.)."G" is for Growing: Thirty Years of Research on Children and Sesame Street.Mahweh, New Jersey: Lawrence Erlbaum Publishers. p.28.ISBN0-8058-3395-1.
  81. ^Murphy, Tim (November 1, 2009)."How We Got to 'Sesame Street'".New York Magazine.RetrievedJuly 8,2019.
  82. ^"How to Get to 'Sesame Street' at the Apollo Theater".New York City Mayor's Office. November 19, 2008.RetrievedJuly 8,2019.
  83. ^Spinney, Caroll; Jason Milligan (2003).The Wisdom of Big Bird (and the Dark Genius of Oscar the Grouch): Lessons from a Life in Feathers.New York: Random House. p.3.ISBN0-375-50781-7.
  84. ^Gikow, pp. 66–67
  85. ^Gikow, pp. 206–207
  86. ^Cherow-O'Leary in Fisch & Truglio, p. 197
  87. ^Cherow-O'Leary in Fisch & Truglio, pp. 197–198
  88. ^abDavis, p. 205
  89. ^abcDavis, p. 195
  90. ^abCarvajal, Doreen (December 12, 2005)."Sesame Street Goes Global: Let's All Count the Revenue".The New York Times.RetrievedJuly 8,2019.
  91. ^abDavis, p. 5
  92. ^Kit, Borys; Sandberg, Bryn Elise (February 6, 2019)."'Sesame Street' Movie's Writer-Director Reveals Plot Details ".The Hollywood Reporter.RetrievedApril 18,2019.
  93. ^Damiani, Jesse."Sesame Street Launches 50th Anniversary AR App".Forbes.RetrievedNovember 18,2019.
  94. ^Gikow, p. 268
  95. ^abDavis, p. 204
  96. ^Gikow, p. 220
  97. ^Gikow, p. 227
  98. ^Davis, p. 256
  99. ^"Warner Music Group Sesame Workshop Team up to Relaunch Sesame Street Records".Music Business Worldwide. November 27, 2018.RetrievedJuly 18,2019.
  100. ^abGikow, p. 236
  101. ^Morrow, p. 89
  102. ^Cole et al. in Fisch & Truglio, p. 148
  103. ^Cole et al. in Fisch & Truglio, p. 147
  104. ^Knowlton, Linda Goldstein and Linda Hawkins Costigan (producers) (2006).The World According to Sesame Street(documentary). Participant Productions.
  105. ^abBradley, Diana (July 27, 2018)."Leaving the neighborhood: 'Sesame Street' muppets to travel across America next year".PR Weekly.RetrievedJuly 9,2019.
  106. ^"Sesame Street the Musical".sesamestreetmusical.RetrievedNovember 24,2022.
  107. ^"SESAME STREET MUSICAL - Rumours of a West End transfer".London Box Office.November 18, 2022.RetrievedNovember 24,2022.
  108. ^Davis, pp. 128–129
  109. ^Davis, p. 147
  110. ^Gikow, p. 15
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  113. ^Morrow, pp. 94–95
  114. ^Gladwell, p. 99
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  116. ^Lesser, p. 125
  117. ^abBorgenicht, p. 15
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  119. ^Lesser, p. 127
  120. ^abMorrow, p. 84
  121. ^Lesser, pp. 127–128
  122. ^Gikow, p. 123
  123. ^abSeligsohn, Leo. (February 9, 1970). "Backstage at Sesame Street".New York Newsday.Quoted in Davis, p. 197.
  124. ^Zill, Nicholas (2001)."DoesSesame StreetEnhance School Readiness? Evidence from a National Survey of Children "."G" is for Growing: Thirty Years of Research on Children and Sesame Street.Mahweh, New Jersey: Lawrence Erlbaum Publishers. pp.117–120.ISBN0-8058-3395-1.
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General and cited references

  • Borgenicht, David (1998).Sesame Street Unpaved.New York: Hyperion Publishing.ISBN0-7868-6460-5
  • Clash, Kevin, Gary Brozek, and Louis Henry Mitchell (2006).My Life as a Furry Red Monster: What Being Elmo has Taught Me About Life, Love and Laughing Out Loud.New York: Random House.ISBN0-7679-2375-8
  • Davis, Michael (2008).Street Gang: The Complete History of Sesame Street.New York: Viking Penguin.ISBN978-0-670-01996-0.
  • Finch, Christopher (1993).Jim Henson: The Works, the Art, the Magic, the Imagination.New York: Random House.ISBN9780679412038
  • Fisch, Shalom M. and Rosemarie T. Truglio, Eds. (2001)."G" Is for Growing: Thirty Years of Research on Children and Sesame Street.Mahweh, New Jersey: Lawrence Erlbaum Publishers.ISBN0-8058-3395-1
    • Cooney, Joan Ganz, "Foreword", pp. xi–xiv.
    • Palmer, Edward and Shalom M. Fisch, "The Beginnings ofSesame StreetResearch ", pp. 3–24.
    • Fisch, Shalom M. and Lewis Bernstein, "Formative Research Revealed: Methodological and Process Issues in Formative Research", pp. 39–60.
    • Mielke, Keith W., "A Review of Research on the Educational and Social Impact of Sesame Street", pp. 83–97.
    • Cole, Charlotte F., Beth A. Richman, and Susan A. McCann Brown, "The World of Sesame Street Research", pp. 147–180.
    • Cherow-O'Leary, Renee, "CarryingSesame Streetinto Print:Sesame Street Magazine,Sesame Street Parents,andSesame StreetBooks ", pp. 197–214.
  • Gikow, Louise A. (2009).Sesame Street: A Celebration— Forty Years of Life on the Street.New York: Black Dog & Leventhal Publishers.ISBN978-1-57912-638-4.
  • Gladwell, Malcolm (2000).The Tipping Point: How Little Things Can Make a Big Difference.New York: Little, Brown, and Company.ISBN0-316-31696-2
  • Lesser, Gerald S. (1974).Children and Television: Lessons From Sesame Street.New York: Vintage Books.ISBN0-394-71448-2
  • Morrow, Robert W. (2006).Sesame Street and the Reform of Children's Television.Baltimore, Maryland: Johns Hopkins University Press.ISBN0-8018-8230-3
  • O'Dell, Cary (1997).Women Pioneers in Television: Biographies of Fifteen Industry Leaders.Jefferson, North Carolina: McFarland & Company.ISBN0-7864-0167-2.
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