How Big Bird Sesame Street Changed My Life- Rough Childhood

American children'southward television programme

Sesame Street
Genre	Children's telly series Educational
Created past	Joan Ganz Cooney Lloyd Morrisett
Theme music composer	Joe Raposo Jon Stone Bruce Hart
Opening theme	"Can You Tell Me How to Get to Sesame Street?"
Ending theme	"Tin can Y'all Tell Me How to Become to Sesame Street?" (instrumental) (upwardly until flavor 45) "Smarter, Stronger, Kinder" (flavor 46 onwards)
Country of origin	United States
Original linguistic communication	English language
No. of seasons	52
No. of episodes	4,591[note i]
Production
Executive producers	David Connell (1969–72)[ane] [two] Jon Stone (1972–78)[3] [4] Al Hyslop (1978–eighty) (credited as "producer" in season ten)[5] Dulcy Vocalizer (1980–93)[6] [7] Michael Loman (1993–2002)[viii] [9] Dr. Lewis Bernstein (2003–05)[10] [xi] Carol-Lynn Parente (2006–17)[12] Brownish Johnson (2017–19) Benjamin Lehmann (2018–present)
Production locations	Reeves Teletape Studios (1969–92) Unitel Video, Inc. (1987–93) Kaufman Astoria Studios (1993–present)
Running time	60 minutes (1969–2015) 30 minutes (2014–present)
Product visitor	Sesame Workshop[note 2]
Distributor	Sesame Workshop
Release
Original network	PBS[note 3] (1969–2015; second run, 2016–present) HBO (first run, 2016–20) HBO Max (start run, 2020–present)
Picture format	NTSC (1969-2008) HDTV 1080i (2008–present)
Original release	November ten, 1969 (1969-xi-x) – nowadays

Sesame Street is an American educational children's television serial that combines live-action, sketch comedy, animation and puppetry. It is produced by Sesame Workshop (known as the Children's Television Workshop [CTW] until June 2000) and was created past Joan Ganz Cooney and Lloyd Morrisett. It is known for its images communicated through the use of Jim Henson's Muppets, and includes brusk films, with sense of humour and cultural references. Information technology premiered on November 10, 1969 to positive reviews, some controversy,^[13] and loftier viewership. It has aired on the United states's national public television receiver provider PBS since its debut, with its first run moving to premium aqueduct HBO on January xvi, 2016, and so its sister streaming service HBO Max in 2020.

The show's format consists of a combination of commercial telly production elements and techniques which have evolved to reflect changes in American culture and audiences' viewing habits. It was the kickoff children'due south TV show to apply educational goals and a curriculum to shape its content, and the first show whose educational effects were formally studied. Its format and content accept undergone meaning changes to reflect changes to its curriculum.

Shortly afterwards its creation, its producers developed what came to be called the CTW Model (after the product visitor's previous name), a organization 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") of Sesame Street were broadcast in 20 countries. In 2001, at that place were over 120 one thousand thousand viewers of various international versions of Sesame Street; and by its 40th anniversary in 2009, it was circulate in more than than 140 countries.

Sesame Street was past then the 15th-highest-rated children'southward television testify in the United states. A 1996 survey constitute that 95% of all American preschoolers had watched it past the time they were 3. In 2018, it was estimated that 86 million Americans had watched it as children. Equally of 2018, it has won 11 Emmy Awards and eleven Grammy Awards, more any other children's testify.

History

Sesame Street was conceived in 1966 during discussions between television producer Joan Ganz Cooney and Carnegie Foundation vice president Lloyd Morrisett. Their goal was to create a children's television testify that would "primary the addictive qualities of boob tube and do something skillful with them,"^[14] such as helping young children gear up for schoolhouse. After ii years of research, the newly formed Children's Idiot box Workshop (CTW) received a combined grant of US$8 1000000 ($56 million in 2020 dollars)^[15] from the Carnegie Foundation, the Ford Foundation, the Corporation for Public Broadcasting and the U.S. federal government to create and produce a new children's tv testify.^[16] The program premiered on public television stations on November 10, 1969.^[17] It was the first preschool educational television plan to base its contents and production values on laboratory and determinative inquiry.^[18] Initial responses to the show included adulatory reviews, some controversy,^[13] and high ratings.

"I've always said of our original squad that developed and produced Sesame Street: Collectively, we were a genius."

—Sesame Street creator Joan Ganz Cooney^[19]

According to author Michael Davis, by the mid-1970s the show had become "an American institution."^[20] The cast and coiffure expanded during this time, with emphasis on the hiring of women coiffure members and the addition of minorities to the bandage. The show'southward success continued into the 1980s. In 1981, when the federal authorities withdrew its funding, CTW turned to and expanded other revenue sources, including its mag division, book royalties, product licensing, and foreign broadcast income.^[21] Its curriculum has expanded to include more melancholia topics such every bit relationships, ethics and emotions. Many of its storylines take been inspired by the experiences of its writing staff, bandage and coiffure—most notably, the 1982 death of Volition Lee, who played Mr. Hooper;^[22] and the marriage of Luis and Maria in 1988.^[23]

Past the end of the 1990s, the show faced societal and economical challenges, including changes in young childrens' viewing habits, competition from other shows, the evolution of cable television, and a driblet in ratings.^[24] As the 21st century began, the show made major changes. Starting in 2002, its format became more narrative-focused and included ongoing storylines. Subsequently its 30th anniversary in 1999, due to the popularity of the Muppet Elmo, the show besides incorporated a pop segment known as "Elmo's World."^[25] In 2009, the show won the Outstanding Achievement Emmy for its xl years on the air.^[26]

In late 2015, in response to "sweeping changes in the media business organization"^[27] and every bit role of a five-year programming and development bargain, premium television set service HBO began airing first-run episodes of Sesame Street. The episodes became bachelor on PBS stations and websites nine months after they aired on HBO.^[27] The deal allowed Sesame Workshop to produce more episodes—increasing from xviii to 35 per season—and to create a spinoff series with the Sesame Street Muppets, and a new educational series.^[28]

At its 50th anniversary in 2019, Sesame Street had produced over 4,500 episodes, two characteristic-length movies (Follow That Bird in 1985 and The Adventures of Elmo in Grouchland in 1999), 35 TV specials, 200 home videos, and 180 albums.^[29] Its YouTube channel has well-nigh v million subscribers.^[30] It was announced in October 2019 that get-go-run episodes will move to HBO Max beginning with the show'due south 51st flavor in 2020.^[31]

Format

From its first episode, Sesame Street'southward format has utilized "a stiff visual style, fast-moving action, sense of humour, and music," as well every bit animation and live-action short films.^[32] When it premiered, well-nigh researchers believed that immature children did not have long attention spans, and the new testify's producers were concerned that an hour-long evidence wouldn't hold their attending. At beginning, 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, brusque films and animations. This construction allowed producers to use a mixture of styles and characters, and to vary its pace, presumably keeping it interesting to immature viewers. However, by flavor 20, research showed that children were able to follow a story—and the street scenes, while still interspersed with other segments, became evolving storylines.^{[33] [34]}

"Nosotros basically deconstructed the prove. It's not a magazine format anymore. It'south more like the Sesame hour. Children volition exist able to navigate through information technology easier."

—Executive producer Arlene Sherman, speaking of the bear witness'south restructuring in 2002^[25]

On recommendations by child psychologists, the producers initially decided that the show'south human actors and Muppets would not interact because they were concerned information technology would confuse young children.^[35] When CTW tested the new prove, they establish that children paid attention during the Muppet segments, and that their involvement was lost during the "Street" segments.^[36] They requested that Henson and his squad create Muppets such every bit Large Bird and Oscar the Grouch to interact with the human actors, and the Street segments were re-shot.^{[37] [38]}

Sesame Street 's format remained intact until the 2000s, when the changing audience required that producers motion to a more than narrative format. In 1998, the popular "Elmo's World," a xv-minute-long segment hosted past the Muppet Elmo, was created.^[39] Starting in 2014, during the show's 45th season, the producers introduced a half-60 minutes version of the program.^{[40] [41] [42]} The new version, which originally complemented the full-hr series, was broadcast weekday afternoons and streamed on the Cyberspace.^[40] In 2017, in response to the irresolute viewing habits of toddlers, the show's producers decreased the show's length from one hour to 30 minutes beyond all its broadcast platforms. The new version focused on fewer characters, reduced pop culture references "one time included equally winks for their parents", and focused "on a single courage topic."^[43]

Educational goals

Signpost of the Sesame Street.

Author Malcolm Gladwell said that "Sesame Street was built around a single, quantum insight: that if y'all tin can hold the attending of children, you can brainwash them."^[44] Gerald Southward. Lesser, the CTW's first advisory board chair, went even farther, saying that the effective use of television set equally an educational tool needed to capture, focus, and sustain children's attending.^[45] Sesame Street was the first children's show to construction each episode, and the segments within them, to capture children'southward attention, and to make, as Gladwell put information technology, "pocket-size but disquisitional adjustments" to proceed it.^[46] According to CTW researchers Rosemarie Truglio and Shalom Fisch, it was one of the few children's show to utilize a detailed and comprehensive educational curriculum, garnered from formative and summative research.^[47]

Sesame Street's creators and researchers formulated both cognitive and affective goals for the evidence. They initially focused on cognitive goals, while addressing affective goals indirectly, believing it would increase children's cocky-esteem and feelings of competency.^[48] 1 of their primary goals was preparing young children for schoolhouse, especially children from low-income families,^[49] using modeling,^[50] repetition,^[51] and humour.^[45] They adapted its content to increase viewers' attention and the show's appeal,^[52] and encouraged older children and parents to "co-view" it by including more than sophisticated humour, cultural references, and celebrity guests.^{[53] [note iv]}

First Lady Barbara Bush participates with Big Bird in an educational taping of Sesame Street at United Studios, 1989

Deputy Secretary of Land Antony Blinken meets Sesame Street 'south graphic symbol Grover to talk about refugees at the United Nations in New York City, 2016

During Sesame Street 's beginning flavour, some critics felt that it should address more overtly such melancholia goals as social competence, tolerance of diversity, and nonaggressive means of resolving conflict. The show's creators and producers responded past featuring these themes in interpersonal disputes between its Street characters.^[54] During the 1980s, the prove incorporated existent-life experiences of its bandage and coiffure, including the expiry of Volition Lee (Mr. Hooper) and the pregnancy of Sonia Manzano (Maria).^[22] In subsequently seasons, information technology addressed real-life disasters such as the September 11 terrorist attacks and Hurricane Katrina.^[55]

In its first flavor, 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 adult because their target audience, children and their families in low-income, inner-city homes, did not traditionally watch educational programs on idiot box and because traditional methods of promotion and advertising were not effective with these groups.^[56]

Starting in 2006, the Workshop expanded its outreach past creating a series of PBS specials and DVDs focusing on how military deployment affects the families of servicepeople.^[57] Its outreach efforts also focused on families of prisoners, health and health, and safe.^[58] In 2013, SW started Sesame Street in Communities, to aid families dealing with hard problems.^[59]

Funding

Every bit a upshot of Cooney'south initial proposal in 1968, the Carnegie Constitute awarded her an $1 1000000 grant to create a new children's television set program and establish the CTW,^{[14] [16] [60]} renamed in June 2000 to Sesame Workshop (SW). Cooney and Morrisett procured additional multimillion-dollar grants from the U.S. federal government, The Arthur Vining Davis Foundations, CPB, and the Ford Foundation. Davis reported that Cooney and Morrisett decided that if they did non procure total funding from the beginning, they would drop the idea of producing the show.^[61] As Lesser reported, funds gained from a combination of authorities agencies and individual foundations protected them from the economic pressures experienced by commercial broadcast television networks, but created challenges in procuring future funding.^[62]

After Sesame Street 's initial success, its producers began to think nearly its survival beyond its development and start season and decided to explore other funding sources. From the outset season, they understood that the source of their funding, which they considered "seed" money, would need to be replaced.^[63] The 1970s were marked by conflicts betwixt the CTW and the federal government; in 1978, the U.Southward. Department of Education refused to evangelize a $2 1000000 cheque until the terminal mean solar day of CTW'south financial year. Every bit a event, the CTW decided to depend upon licensing arrangements with toy companies and other manufacturers, publishing, and international sales for their funding.^[21]

In 1998, the CTW accepted corporate sponsorship to raise funds for Sesame Street and other projects. For the start time, they allowed short advertisements past indoor playground manufacturer Discovery Zone, their first corporate sponsor, to air before and after each episode. Consumer advocate Ralph Nader, who had previously appeared on Sesame Street, called for a boycott of the show, saying that the CTW was "exploiting impressionable children."^[17] In 2015, in response to funding challenges, information technology was announced that premium telly service HBO would air starting time-run episodes of Sesame Street.^[27] Steve Youngwood, SW's Chief Operating Officer, called the move "one of the toughest decisions we always fabricated."^[64] According to The New York Times, the move "drew an firsthand backlash."^[28] Critics claimed that it favored privileged children over less-advantaged children and their families, the original focus of the show. They besides criticized choosing to air start-run episodes on HBO, a network with developed dramas and comedies.^{[28] [65]}

Production

Research

Producer Joan Ganz Cooney has stated, "Without research, there would be no Sesame Street."^[66] In 1967, when she and her squad began planning the show'due south development, combining enquiry with television receiver production was, as she put it, "positively heretical."^[66] Its producers soon began developing what came to exist called the CTW Model, a system of planning, production and evaluation that did non fully emerge until the stop of the show's first season.^{[67] [note 5]} According to Morrow, the Model consisted of iv parts: "the interaction of receptive television producers and child scientific discipline experts, the creation of a specific and age-appropriate curriculum, research to shape the programme directly, and independent measurement of viewers' learning."^[67]

Cooney credited the evidence'south high standard in research procedures to Harvard professors Gerald S. Bottom, whom CTW hired to blueprint its educational objectives; and Edward L. Palmer, who conducted the show'southward formative inquiry and bridged the gap between producers and researchers.^[68] CTW conducted research in 2 ways: in-firm determinative research that informed and improved product;^[69] and contained summative evaluations, conducted by the Educational Testing Service (ETS) during the first ii seasons, which measured its educational effectiveness.^[18] Cooney said, "From the commencement, we—the planners of the project—designed the show as an experimental research project with educational advisers, researchers, and television producers collaborating equally equal partners."^[70] She characterized the collaboration as an "arranged marriage."^[66]

Writing

Sesame Street has used many writers in its long history. As Peter Hellman wrote in his 1987 commodity in New York Magazine, "The prove, of grade, depends upon its writers, and information technology isn't piece of cake to observe adults who could identify the involvement level of a pre-schooler."^[22] Fifteen writers a year worked on the evidence's scripts, but very few lasted longer than one season. Norman Stiles, head author in 1987, reported that most writers would "burn out" after writing about a dozen scripts.^[22] According to Gikow, Sesame Street went confronting the convention of hiring teachers to write for the show, equally near educational telly programs did at the time. Instead, Cooney and the producers felt that it would be easier to teach writers how to translate curriculum than to teach educators how to write one-act.^[71] Equally Stone stated, "Writing for children is not and so like shooting fish in a barrel."^[71] Long-time writer Tony Geiss agreed, stating in 2009, "It's not an easy show to write. Yous 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."^[72]

The bear witness's inquiry squad developed an annotated document, or "Writer's Notebook," which served as a bridge between the evidence'due south curriculum goals and script development.^[73] The notebook was a compilation of programming ideas designed to teach specific curriculum points,^[74] provided extended definitions of curriculum goals, and assisted the writers and producers in translating the goals into televised fabric.^[75] Suggestions in the notebook were free of references to specific characters and contexts on the show so that they could exist implemented as openly and flexibly as possible.^[76]

The inquiry team, in a serial of meetings with the writers, also developed "a curriculum sheet" that described the show's goals and priorities for each season. Afterward receiving the curriculum focus and goals for the flavour, the writers met to discuss ideas and story arcs for the characters, and an "assignment sail" was created that suggested how much time was allotted for each goal and topic.^{[73] [77]} When a script was completed, the show'south research team analyzed it to ensure that the goals were met. And so each production section met to decide what each episode needed in terms of costumes, lights, and sets. The writers were present during the show's taping, which for the first xx-four years of the show took place in Manhattan, and afterward 1992, at the Kaufman Astoria Studios in Queens to make last-infinitesimal revisions when necessary.^{[78] [79] [80] [note 6]}

Media

Early on in their history Sesame Street and the CTW began to await for alternative funding sources and turned to creating products and writing licensing agreements. They became, as Cooney put information technology, "a multiple-media institution."^[83] In 1970, the CTW created a "non-broadcast" division responsible for creating and publishing books and Sesame Street Magazine.^[84] By 2019, the Sesame Workshop had published over 6,500 volume titles.^[30] The Workshop decided from the start that all materials their licensing programme created would "underscore and amplify"^{[85] [86]} the show's curriculum. In 2004, over 68% of Sesame Street 'south revenue came from licenses and products such as toys and clothing.^{[87] [note 7]} By 2008, the Sesame Street Muppets accounted for betwixt $15 one thousand thousand and $17 million per year in licensing and merchandising fees, split between the Sesame Workshop and The Jim Henson Visitor.^[88] Past 2019, the Sesame Workshop had over 500 licensing agreements and had produced over 200 hours of dwelling house video.^{[29] [30]} In that location have been two theatrically-released Sesame Street movies, Follow That Bird, released in 1985, and Elmo in Grouchland, released in 1999. In early 2019, information technology was announced that a third motion-picture show, a musical co-starring Anne Hathaway and written and directed by Jonathan Krisel, would be produced.^[89] In November 2019, Sesame Street announced a family unit friendly augmented reality application produced by Weyo in partnership with Sesame Workshop in honor of the testify'due south 50th anniversary.^[90]

Jim Henson, the creator of the Muppets, owned the trademarks to those characters, and was reluctant to market place them at get-go. He agreed when the CTW promised that the profits from toys, books, computer games, and other products were to exist used exclusively to fund the CTW and its outreach efforts.^{[63] [91]} Fifty-fifty though Cooney and the CTW had very little experience with marketing, they demanded consummate control over all products and product decisions.^[85] Whatsoever production line associated with the show had to be educational and inexpensive, and could not be advertised during the show's airings.^[92] As Davis reported, "Cooney stressed restraint, prudence, and caution" in their marketing and licensing efforts.^{[92] [annotation eight]}

Manager Jon Stone, talking about the music of Sesame Street, said: "There was no other sound like it on television."^[93] For the first fourth dimension in children'due south television, the testify's songs fulfilled a specific purpose and supported its curriculum.^[94] In social club to concenter the best composers and lyricists, the CTW allowed songwriters like Joe 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.^[95] By 2019, there were 180 albums of Sesame Street music produced, and its songwriters had received xi Grammys.^{[29] [30]} In belatedly 2018, the SW announced a multi-year agreement with Warner Music Group to re-launch Sesame Street Records in the U.South. and Canada. For the first time in 20 years, "an extensive itemize of Sesame Street recordings" was fabricated available to the public in a diverseness of formats, including CD and vinyl compilations, digital streaming, and downloads.^[96]

Sesame Street used animations and brusque films commissioned from outside studios,^[97] interspersed throughout each episode, to assist teach their viewers basic concepts like numbers and letters.^[98] Jim Henson was one of the many producers to create short films for the show.^[97] Shortly after Sesame Street debuted in the U.s., 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."^[99] Past 2001 there were over 120 million viewers of all international versions of Sesame Street,^[100] and in 2006, there were 20 co-productions effectually the world.^[101] By its 50th anniversary in 2019, 190 million children viewed over 160 versions of Sesame Street in 70 languages.^{[29] [102]} In 2005, Doreen Carvajal of The New York Times reported that income from the co-productions and international licensing accounted for $96 million.^[87]

Cast, coiffure and characters

Shortly afterwards the CTW was created in 1968, Joan Ganz Cooney was named its start executive manager. She was one of the first female executives in American television. Her date was chosen "ane of the most important television developments of the decade."^[103] She assembled a squad of producers, all of whom had previously worked on Helm Kangaroo. Jon Stone was responsible for writing, casting, and format; Dave Connell took over animation; and Sam Gibbon served every bit the show's chief liaison between the production staff and the research squad.^[104] Cameraman Frankie Biondo has worked on Sesame Street from its first episode in 1969.^[105]

Jim Henson and the Muppets' involvement in Sesame Street began 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."^[16] Henson was initially reluctant, but he agreed to join Sesame Street to meet his own social goals. He also agreed to waive his performance fee for full ownership of the Sesame Street Muppets and to split any revenue they generated with the CTW.^[88] Equally Morrow stated, Henson's puppets were a crucial part of the show'southward popularity and it brought Henson national attending.^[106] Davis reported that Henson was able to have "arcane academic goals" and translate them to "effective and pleasurable viewing."^[107] In early research, the Muppet segments of the evidence scored high, and more Muppets were added during the showtime 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.^[108]

"Sesame Street is all-time known for the creative geniuses it attracted, people like Jim Henson and Joe Raposo and Frank Oz, who intuitively grasped what information technology takes to go through to children. They were boob tube'due south answer to Beatrix Potter or 50. Frank Baum or Dr. Seuss."

—Writer Malcolm Gladwell, The Tipping Point ^[109]

Although the producers decided confronting depending upon a single host for Sesame Street, instead casting a grouping of ethnically diverse actors,^[110] they realized that a children's tv program needed to have, as Lesser put it, "a variety of distinctive and reliable personalities,"^[111] both human and Muppet. Jon Stone, whose goal was to cast white actors in the minority,^[22] was responsible for hiring the show's commencement cast. He did not audition actors until Jump 1969, a few weeks before the 5 exam shows were due to exist filmed. Stone videotaped the auditions, and Ed Palmer took them out into the field to exam children's reactions. The actors who received the "most enthusiastic thumbs upwardly" were cast.^[112] For case, Loretta Long was called to play Susan when the children who saw her audition stood upwardly and sang along with her rendition of "I'm a Little Teapot."^{[112] [113]} Stone stated that casting was the only aspect of the prove that was "only completely haphazard."^[86] Near of the cast and coiffure found jobs on Sesame Street through personal relationships with Stone and the other producers.^[86] According to puppeteer Marty Robinson in 2019, longevity was common among the show'due south cast and crew.^[30]

Co-ordinate to the CTW's research, children preferred watching and listening to other children more than than to puppets and adults, so they included children in many scenes.^[114] Dave Connell insisted that no child actors be used,^[115] so these children were non-professionals, unscripted, and spontaneous. Many of their reactions were unpredictable and difficult to command, only the adult cast learned to handle the children's spontaneity flexibly, even when information technology resulted in departures from the planned script or lesson.^[116] CTW research also revealed that the children'due south hesitations and on-air mistakes served as models for viewers.^[117] According to Morrow, this resulted in the show having a "fresh quality," specially in its early years.^[115]

Reception

Ratings

When Sesame Street premiered on November x, 1969, information technology aired on just 67.vi% of American televisions, just it earned a three.3 Nielsen rating, which totaled one.9 million households.^[118] Past the evidence'due south tenth ceremony in 1979, nine 1000000 American children under the age of 6 were watching Sesame Street daily. Co-ordinate to a 1993 survey conducted by the U.South. Department of Education, out of the show's 6.half dozen million viewers, ii.4 million kindergartners regularly watched it. 77% of preschoolers watched information technology one time a calendar week, and 86% of kindergartners and first- and second-grade students had watched it one time a week before starting schoolhouse. The show reached most immature children in well-nigh all demographic groups.^[119]

The show'due south ratings significantly decreased in the early 1990s, due to changes in children'southward viewing habits and in the television marketplace. The producers responded by making large-calibration structural changes to the bear witness.^[120] Past 2006, Sesame Street had go "the most widely viewed children's television testify in the world," with xx international independent versions and broadcasts in over 120 countries.^[121] A 1996 survey found that 95% of all American preschoolers had watched the bear witness by the time they were three years old.^[122] In 2008, it was estimated that 77 million Americans had watched the series as children.^[121] By the show's 40th anniversary in 2009, information technology was ranked the fifteenth-almost-popular children'due south evidence on television, and by its 50th anniversary in 2019, the show had 100% brand sensation globally. In 2018, the bear witness was the second-highest-rated plan on PBS Kids.^{[123] [102]} In 2021, all the same, the Sesame Street documentary "fifty Years of Sunny Days," which was broadcast nationally on ABC, didn't fare well in the ratings,^[124] scoring only approximately 2.3 one thousand thousand viewers.^[125]

Influence

As of 2001, there were over i,000 research studies regarding Sesame Street 'due south efficacy, impact, and effect on American culture.^[68] The CTW solicited the Educational Testing Service (ETS) to conduct summative enquiry on the prove.^[126] ETS'south two "landmark"^[127] summative evaluations, conducted in 1970 and 1971, demonstrated that the show had a significant educational bear upon on its viewers.^[128] These studies have been cited in other studies of the effects of television on young children.^{[126] [note 9]} Boosted studies conducted throughout Sesame Street 's history demonstrated that the testify connected to have a positive result on its young viewers.^{[note 10]}

"Sesame Street [is] perhaps the nigh vigorously researched, vetted, and fretted-over programme on the planet. It would take a fork-elevator to now to haul away the load of scholarly paper devoted to the serial..."

—Author Michael Davis^[129]

Bottom believed that Sesame Street research "may have conferred a new respectability upon the studies of the effects of visual media upon children."^[130] He also believed that the testify had the same effect on the prestige of producing shows for children in the television industry.^[130] Historian Robert Morrow, in his book Sesame Street and the Reform of Children's Television, which chronicled the show's influence on children'south television and on the television set manufacture as a whole, reported that many critics of commercial television receiver saw Sesame Street as a "straightforward illustration for reform."^[131] Les Brown, a writer for Diverseness, saw in Sesame Street "a hope for a more substantial futurity" for television.^[131]

Morrow reported that the networks responded past creating more than high-quality television programs, but that many critics saw them as "appeasement gestures."^[132] According to Morrow, despite the CTW Model'south effectiveness in creating a popular prove, commercial television "made only a express endeavor to emulate CTW's methods," and did not use a curriculum or evaluate what children learned from them.^[133] By the mid-1970s commercial television had abandoned their experiments with creating amend children'due south programming.^[134] Other critics hoped that Sesame Street, with its depiction of a functioning, multicultural community, would nurture racial tolerance in its young viewers.^[135] Information technology was not until the mid-1990s that some other children'due south idiot box educational programme, Bluish's Clues, used the CTW's methods to create and modify their content. The creators of Blue's Clues were influenced by Sesame Street, simply wanted to use enquiry conducted in the 30 years since its debut. Angela Santomero, i of its producers, said, "We wanted to acquire from Sesame Street and take it ane pace further."^[136]

Critic Richard Roeper said that possibly one of the strongest indicators of the influence of Sesame Street has been the enduring rumors and urban legends surrounding the show and its characters, especially speculation concerning the sexuality of Bert and Ernie.^{[137] [138]}

Critical reception

Sesame Street was praised from its debut in 1969. Newsday reported that several newspapers and magazines had written "glowing" reports about the CTW and Cooney.^[118] The press overwhelmingly praised the new evidence; several popular magazines and niche magazines lauded it.^[139] In 1970, Sesame Street won twenty awards, including a Peabody Award, three Emmys, an award from the Public Relations Order of America, a Clio, and a Prix Jeunesse.^[140] Past 1995, the evidence had won two Peabody Awards and four Parents' Choice Awards. In add-on, information technology was the subject of retrospectives at the Smithsonian Institution and the Museum of Mod Art.^[53]

"Sesame Street is...with lapses, the about intelligent and of import program in television. That is non annihilation much nevertheless."

—Renata Adler, The New Yorker, 1972^[141]

Sesame Street was not without its detractors, however. The state commission in Mississippi, where Henson was from, operated the land's PBS member station; in May 1970 it voted to not air Sesame Street because of its "highly [racially] integrated cast of children" which "the commission members felt ... Mississippi was non all the same ready for."^{[142] [143]} Co-ordinate to Children and Television, Lesser's account of the development and early on years of Sesame Street, there was little criticism of the testify in the months post-obit its premiere, but information technology increased at the cease of its get-go season and beginning of the second flavor.^{[144] [note 11]} Historian Robert W. Morrow speculated that much of the early on 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 social club and the controversies about goggle box's effects on them."^[13]

Co-ordinate to Morrow, the "most of import" studies finding negative effects of Sesame Street were conducted past educator Herbert A. Sprigle and psychologist Thomas D. Cook during its first two seasons.^[145] Social scientist and Head Start founder Urie Bronfenbrenner criticized the show for being too wholesome.^[146] Psychologist Leon Eisenberg saw Sesame Street 's urban setting as "superficial" and having little to do with the problems confronted by the inner-city child.^[147] Head Kickoff director Edward Zigler was probably Sesame Street 's about vocal critic in the show's early years.^[148]

In spite of their commitment to multiculturalism, the CTW experienced conflicts with the leadership of minority groups, especially Latino groups and feminists, who objected to Sesame Street 's depiction of Latinos and women.^[149] The CTW took steps to address their objections. Past 1971, the CTW hired Hispanic actors, production staff, and researchers, and past the mid-1970s, Morrow reported that "the evidence included Chicano and Puerto Rican bandage members, films about Mexican holidays and foods, and cartoons that taught Spanish words."^[150] Every bit The New York Times has stated, creating strong female person characters "that make kids express mirth, merely not...as female person stereotypes" has been a challenge for the producers of Sesame Street.^[151] According to Morrow, change regarding how women and girls were depicted on Sesame Street occurred slowly.^[152] Equally more female Muppet performers like Camille Bonora, Fran Brill, Pam Arciero, Carmen Osbahr, Stephanie D'Abruzzo, Jennifer Barnhart, and Leslie Carrara-Rudolph were hired and trained, stronger female person characters like Rosita and Abby Cadabby were created.^{[153] [154]}

In 2002, Sesame Street was ranked number 27 on TV Guide'due south 50 Greatest TV Shows of All Time.^[155] Sesame Workshop won a Peabody Laurels in 2009 for its website, sesamestreet.org,^[156] and the show was given Peabody's Institutional Accolade in 2019 for l years of educating and entertaining children globally.^[157] In 2013, TV Guide ranked the show number 30 on its list of the 60 best TV series.^[158] As of 2018, Sesame Street has received 189 Emmy Awards, more any other television series.^{[159] [29]}

See besides

• Listing of accolades received past Sesame Street
• List of human Sesame Street characters
• List of songs from Sesame Street
• Pop culture influenced by Sesame Street
• Sesame Street (comic strip)
• Sesame Street international co-productions
• The Not Likewise Late Show with Elmo
• Julia (Sesame Street)

References

Informational notes

1. ^ Season 44 (2013–2014) was the start 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 equally Children's Tv set Workshop until 2000.
3. ^ Known equally Internet for the first flavour.
4. ^ By 2019, 80% of parents watched Sesame Street with their children, and 650 celebrities had appeared on the prove.^[29]
5. ^ Run across Gikow, p. 155, for a visual representation of the CTW model.
6. ^ Most of the first flavour was filmed at a studio nigh Broadway, but a strike forced their motility to Teletape Studios. In the early on days, the ready was simple, consisting of iv structures.^[81] In 1982, Sesame Street began filming at Unitel Studios on 57th Street, but relocated to Kaufman Astoria Studios in 1993, when the producers decided they needed more than space.^[82]
7. ^ Meet Gikow, pp. 280–285 for a list of many of the testify's products.
8. ^ According to Parade Magazine in 2019, 1 million children played with Sesame Street toys daily.^[29]
9. ^ According to Edward Palmer and his colleague Shalom G. Fisch, these studies were responsible for securing funding for the show over the next several years.^[128]
10. ^ See Gikow, pp. 284–285; "1000" Is for Growing: Thirty Years of Research on Children and Sesame Street, pp. 147–230.
11. ^ Run across Lesser, pp. 175–201 for his response to the early on critics of Sesame Street.

Citations

1. ^ "Sesame Street season ane End Credits (1969-70)". YouTube.com . Retrieved June 18, 2020.
2. ^ "Sesame Street season iii End Credits (1971-72)". YouTube.com . Retrieved June 18, 2020.
3. ^ "Sesame Street flavour iv Terminate Credits (1972-73)". YouTube.com. Archived from the original on December 11, 2021. Retrieved June xviii, 2020.
4. ^ "Sesame Street season nine end credits (1977-78)". YouTube.com. Archived from the original on January 22, 2020. Retrieved June 18, 2020.
5. ^ "Sesame Street flavour 10 stop credits (1978-79)". YouTube.com. Archived from the original on Oct viii, 2012. Retrieved June xviii, 2020.
6. ^ "Sesame Street season 12 finish credits (1980-81)". YouTube.com. Archived from the original on December 11, 2021. Retrieved June 18, 2020.
7. ^ "Sesame Street season 24 (#3010) closing & funding credits (1992) ["Dancing Urban center" debut]". YouTube.com. Archived from the original on December xi, 2021. Retrieved June 18, 2020.
8. ^ "Sesame Street - Season 25 End Credits (1993-1994)". YouTube.com. Archived from the original on December 11, 2021. Retrieved June 18, 2020.
9. ^ "Elmo Writes a Story - Sesame Street Total Episode (credits offset at 55:37)". YouTube.com. Sesame Street. Archived from the original on December 11, 2021. Retrieved June eighteen, 2020.
10. ^ "Sesame Street Flavor 34 credits & fundings (version #1)". YouTube.com. Archived from the original on Dec 11, 2021. Retrieved June 18, 2020.
11. ^ "Elmo and Zoe Play the Healthy Food Game - Sesame Street Full Episodes (credits start at 52:fifty)". YouTube.com. Sesame Street. Archived from the original on December 11, 2021. Retrieved June xviii, 2020.
12. ^ "PBS Kids Program Intermission (2006 WFWA-TV)". YouTube.com. Archived from the original on December 11, 2021. Retrieved June 18, 2020.
13. ^ ^{a b c d} Morrow, p. iii
14. ^ ^{a b} Davis, p. 8
15. ^ 1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use every bit a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Club. 1700–1799: McCusker, J. J. (1992). How Much Is That in Existent Money? A Historical Toll Alphabetize for Apply every bit a Deflator of Money Values in the Economy of the U.s. (PDF). American Antiquarian Society. 1800–present: Federal Reserve Banking concern of Minneapolis. "Consumer Cost Index (estimate) 1800–". Retrieved Jan 1, 2020.
16. ^ ^{a b c} Finch, p. 53
17. ^ ^{a b} Brooke, Jill (November 13, 1998). "'Sesame Street' Takes a Bow to thirty Animated Years". The New York Times . Retrieved March eleven, 2019.
18. ^ ^{a b} Palmer & Fisch in Fisch & Truglio, p. nine
19. ^ Gikow, p. 26
20. ^ Davis, p. 220
21. ^ ^{a b} O'Dell, pp. 73-74
22. ^ ^{a b c d e} Hellman, Peter (November 23, 1987). "Street Smart: How Big Bird & Company Do It". New York Magazine. 20 (46): 52. ISSN 0028-7369. Retrieved March 12, 2019.
23. ^ Borgenicht, p. eighty
24. ^ Davis, p. 320
25. ^ ^{a b} Goodman, Tim (Feb 4, 2002). "Word on the 'Street': Classic children's prove to undergo structural changes this season". San Francisco Chronicle . Retrieved October eighteen, 2019.
26. ^ Eng, Joyce (August 28, 2009). "Guiding Low-cal, Sesame Street to Exist Honored at Daytime Emmys". Television Guide . Retrieved October 18, 2019.
27. ^ ^{a b c} Pallotta, Frank; Stelter, Brian (August thirteen, 2015). "'Sesame Street' is heading to HBO". CNN.com . Retrieved Apr 23, 2019.
28. ^ ^{a b c} Steel, Emily (Baronial thirteen, 2015). "'Sesame Street' to Air First on HBO for Adjacent five Seasons". The New York Times . Retrieved April 23, 2019.
29. ^ ^{a b c d east f g} Wallace, Debra (February 6, 2019). "Big Bird Has 4,000 Feathers: 21 Fun Facts About Sesame Street That Will Accident Your Heed". Parade . Retrieved April 11, 2019.
30. ^ ^{a b c d e} Guthrie, Marisa (February 6, 2019). "50 Years of Sunny Days on 'Sesame Street': Behind the Scenes of Tv's Near Influential Prove Ever". The Hollywood Reporter . Retrieved March 11, 2019.
31. ^ Alexander, Julia (October three, 2019). "HBO Max locks down exclusive access to new Sesame Street episodes". The Verge . Retrieved October three, 2019.
32. ^ O'Dell, p. 70
33. ^ Morrow, p. 87
34. ^ Gikow, p. 179
35. ^ Fisch & Bernstein, p. 39
36. ^ Gladwell, p. 105
37. ^ Gladwell, p. 106
38. ^ Fisch & Bernstein, pp. 39—forty
39. ^ Clash, p. 75
40. ^ ^{a b} Dockterman, Eliana (June 18, 2014). "Nosotros're Getting a Half-Hour Version of Sesame Street". Time. Archived from the original on February 5, 2022. Retrieved Jan 13, 2022.
41. ^ "PBS KIDS to Add together New One-half-hour SESAME STREET Programme on Air and on Digital Platforms This Fall". PBS Pressroom. June 18, 2014. Archived from the original on Feb five, 2022. Retrieved January 13, 2022.
42. ^ Jensen, Elizabeth (June 17, 2014). "PBS Plans to Add together a Shorter Version of 'Sesame Street'". The New York Times. ISSN 0362-4331. Retrieved January 13, 2022.
43. ^ Harwell, Drew (January 12, 2016). "Sesame Street, newly revamped for HBO, aims for toddlers of the Internet age". The Washington Post . Retrieved May 15, 2019.
44. ^ Gladwell, p. 100
45. ^ ^{a b} Lesser, p. 116
46. ^ Gladwell, p. 91
47. ^ Fisch, Shalom M.; Rosemarie T. Truglio (2001). "Why Children Acquire from Sesame Street". In Shalom G. Fisch; Rosemarie T. Truglio (eds.). "G" is for Growing: Thirty Years of Research on Children and Sesame Street . Mahweh, New Bailiwick of jersey: Lawrence Erlbaum Publishers. p. 234. ISBN0-8058-3395-i.
48. ^ Morrow, pp. 76, 106
49. ^ Lesser, p. 46
50. ^ Lesser, pp. 86–87
51. ^ Lesser, p. 107
52. ^ Lesser, p. 87
53. ^ ^{a b} Hymowitz, Kay Southward. (Autumn 1995). "On Sesame Street, It'due south All Testify". City Journal . Retrieved June 7, 2019.
54. ^ Huston, Aletha C; Daniel R. Anderson; John C. Wright; Deborah Linebarger; Kelly L. Schmidt (2001). ""Sesame Street Viewers as Adolescents: The Recontact Study". In Shalom K. 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-one.
55. ^ Gikow, p. 165
56. ^ Gikow, p. 181
57. ^ Gikow, pp. 280–281
58. ^ Gikow, pp. 286–293
59. ^ Chandler, Michael Alison (October half dozen, 2017). "Sesame Street launches tools to help children who experience trauma, from hurricanes to violence at home". The Washington Post . Retrieved June 27, 2019.
60. ^ Palmer & Fisch in Fisch & Truglio, p. 3
61. ^ Davis, p. 105
62. ^ Lesser, p. 17
63. ^ ^{a b} Davis, p. 203
64. ^ Guthrie, Marisa (February six, 2019). "Where 'Sesame Street' Gets Its Funding — and How It Nearly Went Bankrupt". The Hollywood Reporter . Retrieved June 28, 2019.
65. ^ Luckerson, Victor (August thirteen, 2019). "This Is Why HBO Really Wants Sesame Street". Time . Retrieved April 23, 2019.
66. ^ ^{a b c} Cooney in Fisch & Truglio, p. 11
67. ^ ^{a b} Morrow, p. 68
68. ^ ^{a b} Cooney in Fisch & Truglio, p. xii
69. ^ Mielke in Fisch & Truglio, pp. 84–85
70. ^ Borgenicht, p. 9
71. ^ ^{a b} Gikow, p. 178
72. ^ Gikow, p. 174
73. ^ ^{a b} Bottom, p. 101
74. ^ Morrow, p. 82
75. ^ Palmer & Fisch in Fisch & Truglio, p. x
76. ^ Palmer & Fisch in Fisch & Truglio, p. 11
77. ^ Lesser, Gerald Southward.; Joel Schneider (2001). "Cosmos and Development of the Sesame Street Curriculum". In Shalom Grand. Fisch; Rosemarie T. Truglio (eds.). "Yard" is for Growing: Thirty Years of Research on Children and Sesame Street . Mahweh, New Jersey: Lawrence Erlbaum Publishers. p. 28. ISBN0-8058-3395-1.
78. ^ Irish potato, Tim (Nov 1, 2009). "How We Got to 'Sesame Street'". New York Magazine . Retrieved July 8, 2019.
79. ^ "How to Get to 'Sesame Street' at the Apollo Theater". New York City Mayor's Role. November 19, 2008. Retrieved July 8, 2019.
80. ^ Spinney, Caroll; Jason Milligan (2003). The Wisdom of Big Bird (and the Nighttime Genius of Oscar the Grouch): Lessons from a Life in Feathers. New York: Random Business firm. p. 3. ISBN0-375-50781-7.
81. ^ Gikow, pp. 66–67
82. ^ Gikow, pp. 206–207
83. ^ Cherow-O'Leary in Fisch & Truglio, p. 197
84. ^ Cherow-O'Leary in Fisch & Truglio, pp. 197–198
85. ^ ^{a b} Davis, p. 205
86. ^ ^{a b c} Davis, p. 195
87. ^ ^{a b} Carvajal, Doreen (December 12, 2005). "Sesame Street Goes Global: Permit's All Count the Acquirement". The New York Times . Retrieved July 8, 2019.
88. ^ ^{a b} Davis, p. 5
89. ^ Kit, Borys; Sandberg, Bryn Elise (Feb 6, 2019). "'Sesame Street' Movie's Writer-Manager Reveals Plot Details". The Hollywood Reporter . Retrieved April 18, 2019.
90. ^ Damiani, Jesse. "Sesame Street Launches 50th Anniversary AR App". Forbes . Retrieved November 18, 2019.
91. ^ Gikow, p. 268
92. ^ ^{a b} Davis, p. 204
93. ^ Gikow, p. 220
94. ^ Gikow, p. 227
95. ^ Davis, p. 256
96. ^ "Warner Music Group Sesame Workshop Team up to Relaunch Sesame Street Records". Music Business concern Worldwide. Nov 27, 2018. Retrieved July 18, 2019.
97. ^ ^{a b} Gikow, p. 236
98. ^ Morrow, p. 89
99. ^ Cole et al. in Fisch & Truglio, p. 148
100. ^ Cole et al. in Fisch & Truglio, p. 147
101. ^ Knowlton, Linda Goldstein and Linda Hawkins Costigan (producers) (2006). The Earth Co-ordinate to Sesame Street (documentary). Participant Productions.
102. ^ ^{a b} Bradley, Diana (July 27, 2018). "Leaving the neighborhood: 'Sesame Street' muppets to travel beyond America next year". PR Weekly . Retrieved July nine, 2019.
103. ^ Davis, pp. 128–129
104. ^ Davis, p. 147
105. ^ Gikow, p. 15
106. ^ Morrow, p. 93
107. ^ Davis, p. 163
108. ^ Morrow, pp. 94–95
109. ^ Gladwell, p. 99
110. ^ Lesser, p. 99
111. ^ Lesser, p. 125
112. ^ ^{a b} Borgenicht, p. 15
113. ^ Davis, p. 172
114. ^ Lesser, p. 127
115. ^ ^{a b} Morrow, p. 84
116. ^ Lesser, pp. 127–128
117. ^ Gikow, p. 123
118. ^ ^{a b} Seligsohn, Leo. (February 9, 1970). "Backstage at Sesame Street". New York Newsday. Quoted in Davis, p. 197.
119. ^ Zill, Nicholas (2001). "Does Sesame Street Enhance School Readiness? Show 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.
120. ^ Weiss, Joanna (Oct xix, 2005). "New Character Joins PBS". The Boston Earth . Retrieved October 12, 2019.
121. ^ ^{a b} Friedman, Michael Jay (April viii, 2006). "Sesame Street Educates and Entertains Internationally" (PDF). America.gov. U.S. Section of State Agency of International Information Programs. Archived from the original (PDF) on Baronial 15, 2007. Retrieved March 11, 2019.
122. ^ Truglio, Rosemarie T; Shalom 1000. Fisch (2001). "Introduction". In Shalom K. Fisch; Rosemarie T. Truglio (eds.). "G" is for Growing: Xxx Years of Research on Children and Sesame Street . Mahweh, New Jersey: Lawrence Erlbaum Publishers. p. 16. ISBN0-8058-3395-ane.
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126. ^ ^{a b} Mielke in Fisch & Truglio, p. 85
127. ^ Mielke in Fisch & Truglio, p. 88
128. ^ ^{a b} Palmer & Fisch in Fisch & Truglio, p. twenty
129. ^ Davis, p. 357
130. ^ ^{a b} Lesser, p. 235
131. ^ ^{a b} Morrow, p. 122
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140. ^ Morrow, p. 119
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142. ^ "Mississippi Agency Votes for a TV Ban on 'Sesame Street'". (May 3, 1970). The New York Times. Quoted in Davis, p. 202
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Bibliography

• Borgenicht, David (1998). Sesame Street Unpaved. New York: Hyperion Publishing. ISBN 0-7868-6460-5
• Disharmonism, Kevin, Gary Brozek, and Louis Henry Mitchell (2006). My Life as a Hirsuite Scarlet Monster: What Being Elmo has Taught Me About Life, Dearest and Laughing Out Loud. New York: Random Firm. ISBN 0-7679-2375-8
• Davis, Michael (2008). Street Gang: The Complete History of Sesame Street. New York: Viking Penguin. ISBN 978-0-670-01996-0
• Finch, Christopher (1993). Jim Henson: The Works: the Art, the Magic, the Imagination. New York: Random Business firm. ISBN 9780679412038
• Fisch, Shalom M. and Rosemarie T. Truglio, Eds. (2001). "One thousand" is for Growing: Thirty Years of Research on Children and Sesame Street. Mahweh, New Jersey: Lawrence Erlbaum Publishers. ISBN 0-8058-3395-1
  • Cooney, Joan Ganz, "Foreword", pp. 11–xiv.
  • Palmer, Edward and Shalom K. Fisch, "The Beginnings of Sesame Street Inquiry", pp. three–24.
  • Fisch, Shalom Thousand. and Lewis Bernstein, "Formative Enquiry Revealed: Methodological and Process Problems in Formative Inquiry", pp. 39–60.
  • Mielke, Keith W., "A Review of Enquiry on the Educational and Social Impact of Sesame Street", pp. 83–97.
  • Cole, Charlotte F., Beth A. Richman, and Susan A. McCann Brownish, "The Globe of Sesame Street Research", pp. 147–180.
  • Cherow-O'Leary, Renee, "Conveying Sesame Street Into Print: Sesame Street Magazine, Sesame Street Parents, and Sesame Street Books" pp. 197–214.
• Gikow, Louise A. (2009). Sesame Street: A Celebration— 40 Years of Life on the Street. New York: Black Dog & Leventhal Publishers. ISBN 978-1-57912-638-4.
• Gladwell, Malcolm (2000). The Tipping Signal: How Little Things Tin Make a Large Difference. New York: Little, Brown, and Company. ISBN 0-316-31696-2
• Lesser, Gerald S. (1974). Children and Television: Lessons From Sesame Street. New York: Vintage Books. ISBN 0-394-71448-2
• Morrow, Robert Westward. (2006). Sesame Street and the Reform of Children'southward Tv. Baltimore, Maryland: Johns Hopkins Academy Press. ISBN 0-8018-8230-3
• O'Dell, Cary (1997). Women Pioneers in Television: Biographies of Fifteen Industry Leaders. Jefferson, Northward Carolina: McFarland & Company. ISBN 0-7864-0167-2.

External links

• Official website
• Sesame Street at IMDb
• Sesame Street on Muppet Wiki
• Sesame Street at Curlie
• Sesame Street on PBSKids.org
• Sesame Street at The Interviews: An Oral History of Television

Source: https://en.wikipedia.org/wiki/Sesame_Street

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