Sesame Street is an American children's educational television series that combines live action, sketch comedy, animation and wayang. It was produced by Sesame Workshop (formerly known as Children's Television Workshop until June 2000) and was created by Joan Ganz Cooney and Lloyd Morrisett. This program is known for its images communicated through the use of Muppets Jim Henson, and includes short films, with humor and cultural references. The series aired on November 10, 1969, for positive reviews, some controversy, and high audiences; has been airing on national PBS public television provider since its debut, with its first run moving to HBO premium channel on January 16, 2016.
The Sesame Street format consists of a combination of elements and commercial television production techniques that have evolved to reflect changes in American culture and viewer viewing habits. With the creation of Sesame Street, producers and writers of children's television shows are used, for the first time, the purpose of education and the curriculum to shape its content. It was also the first time the educational effect of the show was formally studied. Therefore, the show has undergone significant changes in its history as adjustments to the format and content have been made to reflect the source of change in the curriculum.
Shortly after creating Sesame Street, the producers developed what came to be called the "CTW model" (after the name of the previous production company), the television show production planning, production and evaluation system based on collaboration between producers, writers, educators, and researchers. The event was initially funded by the government and private foundations but has become somewhat independent due to revenues from licensing arrangements, international sales, and other media. In 2006, there was an independently produced, or "co-produced" version of Sesame Street broadcast in twenty countries. In 2001, there were over 120 million viewers from various international versions of Sesame Street, and on the 40th anniversary of the event in 2009, aired in over 140 countries.
Sesame Street was then the fifteenth highest children's television show in the United States. A 1996 survey found that 95% of all American preschoolers had watched the show by the time they were three years old. In 2008, it was estimated that 77 million Americans had watched the series as children. In 2014, Sesame Street has won 167 Emmy Awards and 8 Grammy Awards - more than any other kids show.
Video Sesame Street
History
Sesame Street was conceived in 1966 during a discussion between television producer Joan Ganz Cooney and Carnegie Foundation vice-president Lloyd Morrisett. Their goal is to create a children's television show that will "master the quality of the television that is addictive and do something good with them", such as helping small children prepare for school. After two years of research, the newly formed Children's Television Workshop (CTW) received a combined grant of US $ 8 million ($ 53 million in 2017 dollars) from the Carnegie Foundation, Ford Foundation and the US Federal Government to create and produce a children's television show -child. The program was aired on a public television station on November 10, 1969. It is the first preschool educational television program that bases its contents and production values ​​in laboratory and formative research. The initial response to the event included judicial reviews, some controversy, and high ratings. At the 40th anniversary of 2009, Sesame Street is broadcast in over 120 countries, and 20 international versions have been produced.
Sesame Street has evolved since its inception. According to writer Michael Davis, in the mid-1970s the show had become an "American institution". The cast and crew expand during this time, with an emphasis on hiring female crew members and minority additions for the players. The success of the event continued until the 1980s. In 1981, when the federal government withdrew its funding, CTW switched to, and expanded, other revenue sources, including its magazine divisions, book royalties, product licenses, and foreign broadcast revenues. Sesame Street ' The curriculum has been expanded to include more affective topics such as relationships, ethics, and emotions. Many of the story lines of the show are drawn from the experience of the writers, cast and crew staff, in particular, the death of Will Lee in 1982 - who played Mr. Hooper - and the marriage of Luis and Maria in 1988.
In recent years Sesame Street has faced social and economic challenges, including changes in children's viewing habits, competition from other events, cable television developments, and downgrades. After the turn of the 21st century, Sesame Street made major structural changes. For example, starting in 2002, the format became more narrative and included an ongoing storyline. After its thirtieth anniversary in 1999 and due to the popularity of Elmo Muppet, the show also incorporated a popular segment known as the "Elmo World". After the fortieth anniversary in 2009, the event received an Emmy Lifetime Achievement at the 36th Emmy Daytime Awards.
On August 13, 2015, as part of a five-year programming and development agreement, Sesame Workshop announced that the first episode of Sesame Street will move to the HBO premium television service starting with season 46, which airs on January 16, 2016. HBO will hold first-run rights for all the more recent episodes of the series, after which they will air on PBS member stations after an exclusive nine-month window, at no cost to the station to serve the content. The agreement also grants HBO exclusive rights to stream past and future episodes of Sesame Street on HBO Go and HBO Now - assuming those rights from Amazon Video and Netflix; on August 14th, Sesame Workshop announced that they would discontinue the in-house subscription streaming service, Sesame Go, as a standalone service; the service will remain in operation, possibly with its offer reduced to free slate content or functioning as a portal for Sesame Street's Sesame Street website. The deal comes behind the cuts that have affected the series in recent years, changing the habits of viewers of American children in the past ten years, and Sesame Workshop's dependence on revenue from DVD sales.
In April 2017, Sesame Street introduced Julia, a new Muppet who has autism, performed by Stacey Gordon, who has a son on the autism spectrum.
Maps Sesame Street
Format
From its first episode, Sesame Street has compiled its format using "powerful visual styles, quick gestures, humor, and music," as well as animated and live action movies. When Sesame Street airs, most researchers believe that young people do not have a long attention span, therefore new show producers are worried that a one hour show will not attract the attention of their audience. Initially, the "street scenes" of the performances that took place on the set - consisting of character-based interactions and not written as sustainable stories. Instead, they consist of individual, curriculum-based segments that are plagued by "inserts" consisting of doll sketches, short films, and animations. This structure allows producers to use a mixture of styles and characters, and to vary the speed of the event. In season 20, research has shown that children are able to follow the story, and street scenes, while still interspersed with other segments, become an ever-expanding storyline.
On the recommendation of child psychologists, the producers initially decided that human and Muppet actors would not interact because they feared it would confuse the children. When CTW tested the attractiveness of the new show, they found that although the children paid attention to the events during the Muppet segment, their interest was lost during the "Road" segment. The producers asked Henson and his team to make Muppets like Big Bird and Oscar the Grouch to interact with human actors, and the Street segment was again shot. Sesame Street format ' remained intact until the 2000s, when a changing audience required producers to move to more narrative formats. In 1998, the popular segment of "Elmo's World", a 15-minute segment hosted by Muppet Elmo, was created. Starting in 2014, during the 45th season of the event, the producers introduced a half-hour version of the program. The new version, which initially completes the full-hour series, and both is broadcasted in the afternoon and aired on the internet. The half-hour version of the show became standard with the 46th season.
Educational goals
As the writer Malcolm Gladwell has stated, "Sesame Street is built around an insight, a breakthrough: that if you can hold the children's attention, you can educate them". Gerald S. Lesser, chairman of the first CTW advisory board, goes even further, saying that effective use of television as an educational tool is needed to capture, focus, and retain children's attention. Sesame Street is the first children's show to structure every episode, and its segments, to attract children's attention, and to make, as Gladwell puts it, "minor but important adjustments" to guard it. According to CTW researchers Rosemarie Truglio and Shalom Fisch, Sesame Street is one of several children's television programs to use a detailed and comprehensive educational curriculum, compiled from formative and summative research.
The creators of Sesame Street and their researchers formulated cognitive and affective goals for performances. Initially, they focus on cognitive goals, while dealing with affective goals indirectly, with the belief that it will increase self-esteem and feeling the competence of children. One of their main goals is to prepare very young children for school, especially children from low-income families, using modeling, repetition, and humor to meet these goals. They make changes in the event's content to increase the attention of their viewers and to enhance their appeal, and encourage "co-viewing" to attract children and parents to view the show by incorporating more sophisticated humor, cultural references and celebrity guest appearances.
After the first season of Sesame Street , critics forced producers and researchers to discuss more affective goals such as social competence, diversity tolerance, and non-aggressive ways to resolve conflicts. These issues are addressed through interpersonal disputes amongst his characters on the Streets. During the 1980s, the event combined the real experiences of the cast and crew, including the death of Will Lee (Mr. Hooper) and Sonia Manzano (Maria) pregnancy to discuss affective issues. In the next season, Sesame Street deals with real life disasters such as the September 11 terrorist attacks and Hurricane Katrina.
The purpose of the outreach event is addressed through a series of programs that first focus on promotion and then, after the first season, on the development of educational materials used in preschool settings. Innovative programs are developed because their target audience, children and their families in homes in low-income cities, do not traditionally watch educational programs on television and because traditional methods of promotion and advertising are not effective with groups this.
Funding
As a result of Cooney's original proposal in 1968, the Carnegie Institute granted him a $ 8 million ($ 53 million in 2017 dollars) grant to create a new children's television program and set up CTW, renamed in June 2000 to Sesame Workshop (SW). Cooney and Morrisett earned an additional multimillion dollar grant from the US federal government, The Arthur Vining Davis Foundations, CPB, and the Ford Foundation. Davis reports that Cooney and Morrisett decided that if they did not get full funding from scratch, they would drop the idea of ​​producing the show. As Lesser reports, funding from a combination of government agencies and private foundations protects them from the economic pressures experienced by commercial broadcast television networks, but creates challenges in future funding procurement.
After the initial success of Sesame Street ', the manufacturer began to think about its endurance beyond its first development and season and decided to explore other funding sources. From the first season, they understand that their funding source, which they consider to be the "seed" of money, needs to be replaced. The year 1970 was marked by a conflict between CTW and the federal government; in 1978, the US Department of Education refused to give a check for $ 2 million until the last day of the CTW fiscal year. As a result, CTW decided to rely on licensing arrangements with toy companies and other manufacturers, publishing, and international sales for their funding.
In 1998, CTW received a corporate sponsor to raise funds for Sesame Street and other projects. For the first time, they allow short advertisements by indoor playground producers Discovery Zone, their first corporate sponsor, to air before and after each episode. Consumer supporter Ralph Nader, previously appearing on Sesame Street, called for a boycott of the event, saying that CTW is "exploiting vulnerable children". Although the first episodes run on HBO have no underwriting because of their status as pay TV networks, the repetition on PBS continues to have corporate underwriting.
Production
Research
Producer Joan Ganz Cooney has stated, "Without research, there will be
Cooney praised the high standards of performances in the research procedure for Harvard professor Gerald S. Lesser, who CTW was hired to design performance educational purposes, and Edward L. Palmer, who was responsible for conducting formative research events and for bridging the gap between producers and event researchers. CTW conducted the study in two ways: in-house formative research informing and improving production, and independent summative evaluation, conducted by the Educational Testing Service (ETS) during the first two seasons of the event, measuring its educational effectiveness. Cooney stated, "From the beginning, we - the project planners - designed the show as an experimental research project with educational advisors, researchers, and television producers working together as equal partners." Cooney also described the collaboration as "matchmaking".
Write
Sesame Street has used many authors in its long history. As Dave Connell, one of the original producers of Sesame Street, has stated, it is difficult to find adults who can identify the level of interest of preschoolers. Fifteen authors a year work on the event script, but very little goes on for more than a season. Norman Stiles, head writer in 1987, reported that most authors would "burn" after writing about a dozen scripts. According to Gikow, Sesame Street opposed the convention of hiring teachers to write for the show, as most educational television programs do so at the time. In contrast, Cooney and the producers felt that it would be easier to teach the authors how to interpret the curriculum than to teach educators how to write comedy. As Stone says, "Writing for children is not easy". The old writer Tony Geiss agreed, stating in 2009, "This is not an easy event to write, you have to know the characters and the format and the way of teaching and being funny at the same time, which is a big, ambitious action."
The event research team developed an annotated document, or "Writer's Notebook", which serves as a bridge between the purpose of the event curriculum and the development of scripts. This notebook is a compilation of programming ideas designed to teach specific curriculum spots, provide long definitions of curriculum goals, and help writers and producers translate targets into broadcasted material on television. The suggestions in the notebook are free from references to specific characters and contexts on the show so they can be implemented as openly and flexibly as possible.
The research team, in a series of meetings with the authors, also developed a "curriculum sheet" that illustrates the goals and priorities of performances for each season. After receiving the curriculum focus and goals for this season, the authors met to discuss the idea and story arc for the characters, and a "task sheet" was made that suggested how much time was given for each goal and topic. When the script is finished, the performing research team analyzes it to ensure that the goal has been met. Then each production department meets to determine what each episode needs in terms of costumes, lights, and sets. The authors were present during the recording of the show, which for the first twenty-four years of the show took place in Manhattan, and after 1992, at Kaufman Astoria Studios in Queens to make revisions at the last moment when needed.
Media
At the beginning of their history Sesame Street and CTW started looking for alternative funding sources and turned to creating products and writing licensing agreements. They became, as Cooney put it, "multi-media institutions". In 1970, CTW created a "non-broadcast" division that was responsible for creating and publishing books and Sesame Street Magazine. They decided that all the license program material they created would "underscore and strengthen" the curriculum of the event. In 2004, more than 68% of Sesame Street revenues came from licenses and products such as toys and clothing. In 2008, Sesame Street Muppets contributed between $ 15 million and $ 17 million per year in licensing and merchandising fees, divided between Sesame Workshop and The Jim Henson Company.
Jim Henson, the creator of Muppet, has trademarks for those characters, and is reluctant to market them initially. He agreed when CTW promised that the advantages of toys, books, computer games, and other products would be used exclusively to fund CTW and its outreach efforts. Although Cooney and CTW have little experience with marketing, they demand complete control over all product and product decisions. Any product line associated with the event must be educational and inexpensive, and may not be advertised during the event view. As Davis reports, "Cooney emphasizes control, caution, and caution" in their marketing and licensing efforts.
Director Jon Stone, speaking about Sesame Street music, said: "There is no such sound on television." For the first time on children's television, the show's songs fulfill a particular purpose and support the curriculum. To attract the best composer and lyricist, CTW allows songwriters like Sesame Street ' first music director Joe Raposo to retain the rights to the songs they write, which results in their lucrative profits and help the event defend the public interest. In 1991, Sesame Street and the songwriter had received eight Grammys.
Sesame Street uses animations and short movies ordered from outside studios, punctuated in every episode, to help teach basic concepts to their audiences like numbers and letters. Jim Henson is one of many producers to make short films for the show. Shortly after Sesame Street debuted in the United States, CTW was approached independently by producers from several countries to produce a show version at home. This version is then called "co-production". In 2001 there were over 120 million viewers from all international versions of Sesame Street, and in 2006, there were twenty co-productions around the world. At the 40th anniversary of the event in 2009, Sesame Street is broadcast in over 140 countries. In 2005, Doreen Carvajal of The New York Times reported that earnings from co-production and international licenses accounted for $ 96 million.
Cast, crew and character
Not long after CTW was created in 1968, Joan Ganz Cooney was appointed as its first executive director. She was one of the first female executives on American television. His appointment was called "one of the most important television developments of the decade". He assembled a team of producers, all of whom had previously worked at Captain Kangaroo. Jon Stone is responsible for writing, casting, and formatting; Dave Connell took over the animation; and Sam Gibbon served as chairman of the event liaison between the production staff and the research team. Comrade Frankie Biondo works at Sesame Street from her first episode.
Jim Henson and Muppets' involvement at Sesame Street began when he and Cooney met at one of the curriculum planning seminars in Boston. Author Christopher Finch reports that Stone, who had worked with Henson before, felt that if they could not bring him, they would have to "do without the doll". Henson was initially reluctant, but he agreed to join Sesame Street to fulfill his own social goals. He also agreed to waive his performance costs for the full ownership of Sesame Street Muppets and to share every income they generate with CTW. As Morrow put it, the Henson dolls were an important part of the show's popularity and it brought Henson's national attention. Davis reports that Henson was able to take "mysterious academic goals" and translate them into "an effective and fun look". In the initial study, the Muppet segment of the event got high marks, and more Muppets were added during the first few seasons. Morrow reports that Muppets are an effective teaching tool because children are easy to recognize them, they are stereotyped and predictable, and they appeal to older adults and siblings.
Although the producers decided not to rely on a single host for Sesame Street, instead of creating a group of diverse ethnic actors, they realized that children's television programs needed to have, as Lesser said, a variety of distinctive and reliable personalities ", both human and Muppet. Jon Stone, who aims to contract white actors in minorities, is responsible for recruiting the first actor of the event. He did not audition actors until the spring of 1969, a few weeks before five tests would be filmed. Stone recorded his audition, and Ed Palmer took them to the field to test the reactions of the children. The actors who received the "most enthusiastic thumbs" were cast. For example, Loretta Long was chosen to play Susan when the kids who saw her audition stand and sing along with the song "I'm a Little Teapot". As Stone says, casting is the only aspect of the show that is "completely random". Most players and crew find work on Sesame Street through personal relationships with Stone and other manufacturers.
According to CTW research, children prefer watching and listening to other children than puppets and adults, so they include children in many scenes. Dave Connell insists that no child actor is used, so these kids are unprofessional, unlisted, and spontaneous. Many of their reactions are unpredictable and difficult to control, but adult players learn to handle the spontaneity of children flexibly, even when it results in departure from the planned script or lesson. The CTW study also revealed that children's doubts and on-air mistakes serve as models for viewers. According to Morrow, this produced a show that had "fresh quality", especially in the early years. Children are also used in sound comments from most of the live-action films produced by CTW.
Reception
Ratings
When Sesame Street aired in 1969, it broadcast only 67.6% of American television, but earned a 3.3 Nielsen rating, which reached 1.9 million households. On the tenth anniversary of the event in 1979, nine million American children under the age of 6 were watching Sesame Street every day. According to a 1993 survey conducted by the US Department of Education, of the 6.6 million viewers of the event, 2.4 million kindergartners regularly watched. 77% of preschoolers watch it once a week, and 86% of kindergarten children and first and second graders watch it once a week before starting school. The show reaches most young people in almost all demographic groups.
Event ratings declined significantly in the early 1990s, resulting from changes in the habits of watching children and in the television market. Producers respond by making large-scale structural changes to the show. In 2006, Sesame Street has become "the world's most viewed children's television show", with 20 independent international versions and broadcasts in over 120 countries. A 1996 survey found that 95% of all American preschoolers had watched the show by the time they were three years old. In 2008, it was estimated that 77 million Americans had watched the series as children. On the 40th anniversary of the event in 2009, she was ranked as the most popular children's show on television.
Influence
In 2001, there were more than 1,000 research studies on Sesama Street ' the efficacy, impact, and effects on American culture. CTW requested the Education Testing Service (ETS) to conduct a summative research on the show. Two ETS "landmark" summations, conducted in 1970 and 1971, show that the show has a significant educational impact on viewers. These studies have been cited in another study on the effects of television on young children. Additional studies conducted along
Lesser believes that Sesame Street research "may have given new honors to the study of the effects of visual media on children". He also believes that the show has the same effect on the prestige of producing performances for children in the television industry. Historian Robert Morrow, in his book Sesame Street and Children's Television Reform, which notes the effect of the show on children's television and in the television industry as a whole, reports that many critics from commercial television see Sesame Street as "direct illustration for reform". Les Brown, an author for Variety , sees in Sesame Street "hope for a more substantial future" for television.
Morrow reported that the networks responded by creating more high-quality television programs, but many critics regarded it as a "cue of reform". According to Morrow, despite the effectiveness of the CTW Model in creating popular events, commercial television "makes only limited attempts to imitate the CTW method", and does not use the curriculum or evaluate what children learn from them. In the mid-1970s, commercial television abandoned their experiments by creating better children's programs. Other critics hope that Sesame Street , with its portrayal of a functioning multicultural community, will maintain racial tolerance in its young audience. It was not until the mid-1990s when the children's television education program, Blue's Clues, used the CTW method to create and modify their content. The creators of Blue's Clues are influenced by Sesame Street , but want to use research done in the 30 years since its debut. Angela Santomero, one of the producers, said, "We want to learn from Sesame Street and take it one step further".
As Richard Roeper's critics point out, perhaps one of the strongest indicators of the influence of Sesame Street is long-lasting rumors and urban legends surrounding performances and characters, especially with regard to Bert and Ernie.
Critical reception
Sesame Street has been praised since its debut in 1969. Newsday reported that several newspapers and magazines have written "glow" reports about CTW and Cooney. The press highly praised the new show; some popular magazines and clever magazines praised him. In 1970, Sesame Street won twenty awards, including the Peabody Awards, three Emmys, awards from the Public Relation Society of America, Clio, and Prix Jeunesse. In 1995, the event won two Peabody Awards and four Choice Parents Awards. In addition, it is a retrospective subject at the Smithsonian Institution and the Museum of Modern Art.
Sesame Street is not without its critics, however. In May 1970, the state commission in Mississippi, the Henson state actually came from, which operates state PBS member stations, chose not to air Sesame Street due to the "highly integrated" members "children" cast the commission feels... Mississippi is not ready yet. "According to Children and Television , Lesser's account of the development and early years of Sesame Street , there is little criticism of the show at months after the premiere, but increased at the end of its first season and the beginning of the second season.Historian Robert W. Morrow speculates that many of his early critics, which he called "shocking," stemmed from cultural and historical reasons related to, as he put it, place children in American society and controversy about the effects of television on them ".
According to Morrow, the "most important" study found the negative effects of Sesame Street done by educator Herbert A. Sprigle and psychologist Thomas D. Cook during his first two seasons. Social scientist and founder Start Head Urie Bronfenbrenner criticized the show for being too healthy. Psychologist Leon Eisenberg sees urban arrangement of Sesame Street as "shallow" and has little to do with the problems faced by children in the city. Director of Head Start, Edward Zigler is probably the most vocal of criticism in the early years of the show.
Despite their commitment to multiculturalism, CTW encountered conflict with the leadership of minorities, mainly Latin and feminist groups, who objected to the Latin and female Sesame Street ' image. CTW took steps to overcome their objections. In 1971, CTW hired Hispanic actors, production staff, and researchers, and in the mid-1970s, Morrow reported that "the show involved Chicano and Puerto Rican players, Mexican food holidays and food, and cartoons that taught words Spanish ". As The New York Times has stated, creating a strong female character "that makes children laugh, but not... as a stereotype of women" has been a challenge for producers Sesame Street i>. According to Morrow, changes to how women and girls are depicted on Sesame Street are slow. As more Muppets female players like Fran Brill, Pam Arciero, Carmen Osbahr, Stephanie D'Abruzzo, Jennifer Barnhart, and Leslie Carrara-Rudolph are hired and trained, stronger female characters like Rosita and Abby Cadabby were created.
In 2002, Sesame Street was ranked No. 1. 27 on TV Guide's 50 Greatest TV Shows of All Time. It also won another Peabody Award in 2009 for sesamestreet.org. In 2013, TV Guide ranked No. 1. 30 in the list of 60 Best Series. By 2016, Sesame Street has received 167 Emmy Awards, more than any other television series.
See also
- Sesame Street international co-production
- List of awards received by Sesame Street
- List of human characters Sesame Street
- Pop culture is affected by Sesame Street
- Sesame Street (comic strip)
Note
References
The work cited
- Borgenicht, David (1998). Sesame Street Unpaved . New York: Hyperion Publishing. ISBNÃ, 0-7868-6460-5
- Clash, Kevin, Gary Brozek, and Louis Henry Mitchell (2006). My Life as a Hairy Red Monster: What Elmo Teach Me About Life, Love and Laugh Hard. New York: Random House. ISBNÃ, 0-7679-2375-8
- Davis, Michael (2008). Street Gang: The Complete History of Jalan Sesama . New York: Viking Penguin. ISBN 978-0-670-01996-0
- Finch, Christopher (1993). Jim Henson: The Works: Art, Magic, Imagination . New York: Random House. ISBN: 9780679412038
- 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: Publisher Lawrence Erlbaum. ISBNÃ, 0-8058-3395-1
- Cooney, Joan Ganz, "Foreword", pp. xi-xiv.
- Palmer, Edward and Shalom M. Fisch, "The Beginnings of Sesame Street Research", p. 3-24.
- Fisch, Shalom M. and Lewis Bernstein, "Formative Research Revealed: Methodological Issues and Processes in Formative Research", pp. 39-60.
- Mielke, Keith W., "Research Overview on Sesame Street Education and Social Impacts", p. 83-97.
- Cole, Charlotte F., Beth A. Richman, and Susan A. McCann Brown, "The World of Sesame Street Research", p. 147-180.
- Cherow-O'Leary, Renee, "Bringing Sesame Street Into Print: Sesame Street Magazine , Street Fellow Parent , and Sesame Street Book "pp.Ã, 197-214.
- Gikow, Louise A. (2009). Sesame Street: Celebration - Forty Years of Life on the Road . New York: Black Dog & amp; Leventhal Publisher. ISBN 978-1-57912-638-4.
- Gladwell, Malcolm (2000). Tipping Point: How Small Things Can Make a Big Difference . New York: Little, Brown, and Company. ISBNÃ, 0-316-31696-2
- Lesser, Gerald S. (1974). Children and Television: Lessons from Sesame Street . New York: Vintage Books. ISBNÃ, 0-394-71448-2
- Morrow, Robert W. (2006). Sesame Street and Children's Television Reform. Baltimore, Maryland: Johns Hopkins University Press. ISBNÃ, 0-8018-8230-3
- O'Dell, Cary (1997). Pioneers of Women on Television: Biography of Fifteen Industry Leaders. Jefferson, North Carolina: McFarland & amp; Company. ISBNÃ, 0-7864-0167-2.
External links
- Official website
- Sesame Street in Curlie (based on DMOZ)
- Sesame Street on PBSKids.org
- Sesame Street on IMDb
- Sesame Street related to the interview video on the Archive of American Television
- Sesame Street on Muppet Wiki, an external wiki
Source of the article : Wikipedia
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