Sesame Workshop
CEO | Sherrie Westin | |
Subsidiaries | Sesame Street Inc Sesame Workshop Communications Inc Sesame Workshop Initiatives India PLC SS Brand Management Shanghai | |
---|---|---|
Revenue (2014) | US$104,728,963 | |
Expenses (2014) | US$111,255,622 | |
Employees (2013) | 813 | |
Website | sesameworkshop | |
Formerly called | Children's Television Workshop (CTW) (1968–2000) | |
[1][2][3] |
Sesame Workshop, Inc. (SW), originally known as the Children's Television Workshop, Inc. (CTW), is an American nonprofit organization that has been responsible for the production of several educational children's programs—including its first and best-known, Sesame Street—that have been televised internationally. Television producer Joan Ganz Cooney and foundation executive Lloyd Morrisett developed the idea to form an organization to produce Sesame Street, a television series which would help children, especially those from low-income families, prepare for school. They spent two years, from 1966 to 1968, researching, developing, and raising money for the new series. Cooney was named as the Workshop's first executive director, which was termed "one of the most important television developments of the decade."[4]
Sesame Street premiered on National Educational Television (NET) as a series run in the United States on November 10, 1969, and moved to NET's successor, the Public Broadcasting Service (PBS), in late 1970. The Workshop was formally incorporated in 1970. Gerald S. Lesser and Edward L. Palmer were hired to perform research for the series; they were responsible for developing a system of planning, production, and evaluation, and the interaction between television producers and educators, later termed the "CTW model". The CTW applied this system to its other television series, including The Electric Company and 3-2-1 Contact. The early 1980s were a challenging period for the Workshop; difficulty finding audiences for their other productions and a series of bad investments harmed the organization until licensing agreements stabilized its revenues by 1985.
Following the success of Sesame Street, the CTW developed other activities, including unsuccessful ventures into adult programs, the publications of books and music, and international co-productions. In 1999, the CTW partnered with
By 2005, income from the organization's international co-productions of the series was $96 million. By 2008, the Sesame Street Muppets accounted for $15–17 million per year in licensing and merchandising fees. As of 2021, Sherrie Westin is the Workshop's president.
History
Background
During the late 1960s, 97% of all American households owned a television set, and preschool children watched an average of 27 hours of television per week.[6] Early childhood educational research at the time had shown that when children were prepared to succeed in school, they earned better grades and learned more effectively. Children from low-income families, however, had fewer resources than children from higher-income families to prepare them for school. Research had shown that children from low-income, minority backgrounds tested "substantially lower"[7] than middle-class children in school-related skills, and that they continued to have educational deficits throughout school.[8] The topic of developmental psychology had grown during this period, and scientists were beginning to understand that changes of early childhood education could increase children's cognitive growth.
In the winter of 1966,
In the summer of 1967, Cooney took a leave of absence from WNDT, and funded by Carnegie Corporation, traveled the U.S. and Canada interviewing experts in child development, education, and television. She reported her findings in a fifty-five-page document entitled "The Potential Uses of Television in Preschool Education".[16] The report described what the new series, which became Sesame Street, would be like and proposed the creation of a company that managed its production, which eventually became known as the Children's Television Workshop (CTW).[9]
Founding
For the next two years, Cooney and Morrisett researched and developed the new show, acquiring $8 million funding for Sesame Street, and establishing the CTW.
Cooney's proposal included using in-house formative research that would inform and improve production, and independent summative evaluations to test the show's effect on its young viewers' learning.[25][26] In 1967, Morrisett recruited Harvard University professor Gerald S. Lesser, whom he had met while they were both psychology students at Yale,[27] to help develop and lead the Workshop's research department. In 1972, the Markle Foundation donated $72,000 to Harvard to form the Center for Research in Children's Television, which served as a research agency for the CTW. Harvard produced about 20 major research studies about Sesame Street and its effect on young children.[28] Lesser also served as the first chairman of the Workshop's advisory board, a position he held until his retirement in 1997.[29] According to Lesser, the CTW's advisory board was unusual because instead of rubber-stamping the Workshop's decisions like most boards for other children's television shows, it contributed significantly to the series' design and implementation.[30] Lesser reported in Children and Television: Lessons from Sesame Street, his 1974 book about the beginnings of Sesame Street and the Children's Television Workshop, that about 8–10% of the Workshop's initial budget was spent on research.[31]
CTW's summative research was done by the Workshop's first research director, Edward L. Palmer, whom they met at the curriculum seminars Lesser conducted in Boston in the summer of 1967. In the summer of 1968, Palmer began to create educational goals, define the Workshop's research activities, and hire his research team.[32] Lesser and Palmer were the only scientists in the U.S. studying the interaction of children and television at the time.[33] They were responsible for developing a system of planning, production, and evaluation, and the interaction between television producers and educators, later called the "CTW model".[34][35] Cooney observed of the CTW model: "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".[36] She described the collaboration as an "arranged marriage".[37]
The CTW devoted 8% of its initial budget to outreach and publicity.
According to Davis, despite her involvement with the project's initial research and development, Cooney's installment as CTW's executive director was questionable due to her lack of executive experience, untested financial management skills, and lack of experience with children's television and education. Davis also speculated that sexism was involved, stating, "Doubters also questioned whether a woman could gain the full confidence of a quorum of men from the federal government and two elite philanthropies, institutions whose wealth exceeded the gross national product of entire countries".
After her appointment, Cooney hired Bob Davidson as her assistant; he was responsible for making agreements with approximately 180 public television stations to broadcast the new series.[44] She assembled a team of producers:[45] Jon Stone was responsible for writing, casting, and format; David Connell assumed control of animation and volume production; and Samuel Gibbon served as the show's chief liaison between the production staff and the research team.[46] Stone, Connell, and Gibbon had worked on another children's show, Captain Kangaroo, together. Cooney later said about Sesame Street's original team of producers, "collectively, we were a genius".[47] CTW's first children's show, Sesame Street, premiered on 10 November 1969.[48] The CTW was not incorporated until 1970 because its creators wanted to see if the series was a success before they hired lawyers and accountants.[49] Morrisett served as the first chairperson of CTW's board of trustees, a job he had for 28 years.[50]
Early years
During the second season of Sesame Street, to capitalize on the momentum the Workshop was enjoying and the attention it received from the press, the Workshop created its second series, The Electric Company, in 1971. Morrisett used the same fund-acquisition techniques as he had used for Sesame Street.[51] The Electric Company stopped production in 1977, but continued in reruns until 1985; it eventually became one of the most widely used TV shows in American classrooms[49][52] and was revived in 2009.[53] Starting in the early 1970s, the Workshop ventured into adult programming, but found that it was difficult to make their programs accessible to all socio-economic groups.[54] In 1971, it produced a medical program for adults termed Feelin' Good, hosted by Dick Cavett, which was broadcast until 1974. According to writer Cary O'Dell, the show "lacked a clear direction and never found a large audience".[55] In 1977, the Workshop broadcast an adult drama called Best of Families, which was set in New York City around the turn of the 20th century. However, it lasted for only six or seven episodes and helped the Workshop decide to emphasize children's programs only.[54]
Throughout the 1970s, the CTW's main non-television efforts changed from promotion to the development of educational materials for preschool settings.[56] Early efforts included mobile viewing units that broadcast the show in the inner cities, in Appalachia, in Native American communities, and in migrant worker camps.[57] In the early 1980s, the CTW created the Preschool Education Program (PEP), whose goal was to assist preschools, by combining television viewing, books, hands-on activities, and other media, in using the series as an educational resource.[58] The Workshop also provided materials to non-English speaking children and adults. Starting in 2006, the Workshop expanded its programs by creating a series of PBS specials and DVDs largely concerning how military deployment affects the families of soldiers.[59] Other efforts by the Workshop concerned families of prisoners, health and wellness, and safety.[60]
According to Cooney and O'Dell, the 1980s were a problematic period for the Workshop.[52][61] A series of poor investments in video games, motion picture production, theme parks, and other business ventures hurt the organization financially.[52] Cooney brought in Bill Whaley during the late 1970s to work on their licensing agreements, but he was unable to compensate for the CTW's losses until 1986, when licensing revenues stabilized and its portfolio investments increased.[52][61] Despite financial troubles, the Workshop continued to produce new shows throughout the decade. 3-2-1 Contact premiered in 1980 and ran for seven seasons. The CTW found that finding funding for this series and other science-oriented series like Square One Television, which was broadcast from 1987 to 1992, was easy because the National Science Foundation and other foundations were interested in funding science education.[54][62]
Later years
Cooney stepped down as chairman and chief executive officer of the CTW in 1990, when she was replaced by David Britt, who was her "chief lieutenant in the executive ranks through the mid-1990s"[63] and whom Cooney termed her "right-hand for many years".[62] Britt had worked for her at the CTW since 1975 and had served as its president and chief operating officer since 1988. At that time, Cooney became chairman of the Workshop's executive board, which managed its businesses and licensing, and became more involved with the organization's creative efforts.[64] The Workshop had a reorganization in 1995, and dismissed about 12 percent of its staff.[65] In 1998, for the first time in the series' history, they accepted funds from corporations for Sesame Street and its other programs,[66] a policy criticized by consumer advocate Ralph Nader. The Workshop defended the acceptance of corporate sponsorship, stating that it compensated for a decrease of government subsidies.[67]
Also in 1998, the CTW invested $25 million in an educational cable channel called
In 2000, profits earned from the Noggin deal, along with the revenue caused partly by the "Tickle Me Elmo" craze, enabled the CTW to purchase
The CTW changed its name to Sesame Workshop in June 2000, to better represent its non-television activities and interactive media.[75] Also in 2000, Gary Knell succeeded Britt as president and CEO of the Workshop; according to Davis, he "presided over an especially fertile period in the nonprofit's history".[76] Under Knell's management, Sesame Workshop produced a variety of original shows for Noggin. The first was an interactive game show called Sponk!, which was meant to model good collaboration and teamwork skills.[77] Sesame Workshop also co-produced a Sesame Street spin-off, Play with Me Sesame, for Noggin.[78] In April 2002, Noggin premiered an overnight block for teenagers called The N. Sesame Workshop created its first-ever teen drama series, Out There, for The N.[79]
In August 2002, Sesame Workshop sold its 50% share of Noggin to Viacom.[80][81] The buyout was partially caused by SW's need to pay off debt.[82] Sesame Workshop remained involved with the network's programming, as Viacom entered a multi-year production deal with Sesame Workshop shortly after the split and continued to broadcast the company's shows.[83] The last collaboration between Noggin and Sesame Workshop was The Upside Down Show, which premiered in 2006.[84]
Outside of Noggin, Knell was also instrumental in the creation of the cable channel
In 2007, the Sesame Workshop founded The Joan Ganz Cooney Center, an independent, non-profit organization that studies how to improve children's literacy by using and developing digital technologies "grounded in detailed educational curriculum", just as was done during the development of Sesame Street.[87]
The 2008–2009 recession, which resulted in budget reductions for many nonprofit arts organizations, severely affected the organization; in 2009, it had to dismiss 20% of its staff.
In 2019, The Hollywood Reporter reported that Sesame Workshop's operating income was approximately $1.6 million, after the majority of its funds earned from grants, licensing deals, and royalties went back into its content, its total operating costs were over $100 million per year. Operating costs included salaries, $6 million in rent for its Lincoln Center corporate offices, its production facilities in Queens, and the costs of producing content for its YouTube channels and other outlets. The organization employed about 400 people, including "several highly skilled puppeteers". Royalties and distribution fees, which accounted for $52.9 million in 2018, made up the Workshop's biggest revenue source. Donations brought in $47.8 million, or 31 percent of its income. Licensing revenue from games, toys, and clothing earned the organization $4.5 million.[94]
Funding sources
After Sesame Street's initial success, the CTW began to think about its survival beyond the development and first season of the show, since its funding sources were composed of organizations and institutions that tended to start projects, not sustain them.
For the first time, a public broadcasting series had the potential to earn a great deal of money. Immediately after its premiere, Sesame Street gained attention from marketers,
Soon after the premiere of Sesame Street, producers, educators, and officials of other nations began requesting that a version of the series be broadcast in their countries.
Publishing
In 1970, the CTW established a department managing the development of "nonbroadcast" materials based upon Sesame Street. The Workshop decided that all materials its licensing program created would "underscore and amplify"[101] the series' curriculum. Coloring books, for example, were prohibited because the Workshop felt they would restrict children's imaginations.[100] The CTW published Sesame Street Magazine in 1970, which incorporated the show's curriculum goals in a magazine format.[113] As with the series, research was performed for the magazine, initially by CTW's research department for a year and a half, and then by the Magazine Research Group in 1975.[99]
Working with Random House editor Jason Epstein, the CTW hired Christopher Cerf to manage Sesame Street's book publishing program.[100][101] During the division's first year, Cerf earned $900,000 for the CTW. He quit to become more involved with writing and composing music for the series,[114] and was replaced eventually by Bill Whaley. Ann Kearns, vice president of licensing for the CTW in 2000, stated that Whaley was responsible for expanding the licensing to other products, and for creating a licensing model used by other children's series.[100] As of 2019, the Workshop had published over 6,500 book titles.[105] and as researcher Renee Cherow-O'Leary stated in 2001, "the print materials produced by CTW have been an enduring part of the legacy of Sesame Street".[99] In one of these books, for example, the death of the Sesame Street character Mr. Hooper was featured in a book entitled I'll Miss You, Mr. Hooper, published soon after the series featured it in 1983.[115] In 2019, Parade Magazine reported that 20 million copies of The Monster at the End of the Book and Another Monster at the End of this Book had been sold, making them the top two best-selling e-books sold.[104] Its YouTube channel had almost 5 million subscribers.[105]
Music
According to director Jon Stone, the music of Sesame Street was unlike any other children's program on television.[116] For the first time, the show's songs fulfilled a specific purpose and was related to its curriculum.[117] Cooney observed in her initial report that children had an "affinity for commercial jingles",[118] so many of the show's songs were like television advertisements.
To attract the best composers and lyricists, and to encourage them to compose more music for the series, the CTW allowed songwriters to retain the rights to the songs they wrote. For the first time in children's television, the writers earned lucrative profits, which as Davis reported, "helped the show sustain the level of public interest in the show".[119] Scriptwriters often wrote their own lyrics to accompany their scripts.[119] Songwriters of note were Joe Raposo, Jeff Moss, Christopher Cerf, Tony Geiss, and Norman Stiles. Many of the songs written for Sesame Street have become what writer David Borgenicht termed "timeless classics".[120] These songs included "Can You Tell Me How to Get to Sesame Street?", "I Love Trash", "Rubber Duckie", "Bein' Green", and "Sing". Many Sesame Street songs were recorded by well-known artists such as Barbra Streisand, Lena Horne, Dizzy Gillespie, Paul Simon, and Jose Feliciano.[121] By 2019, there were 180 albums of Sesame Street music produced.[105]
The show's first album, Sesame Street Book & Record, recorded in 1970, was a major success and won a Grammy Award.
International co-productions
Soon after Sesame Street debuted in the US, the CTW was asked independently by producers from several countries to produce versions of the series in their countries.[107] Cooney remarked, "To be frank, I was really surprised, because we thought we were creating the quintessential American show. We thought the Muppets were quintessentially American, and it turns out they're the most international characters ever created".[123] She hired former CBS executive Mike Dann, who quit commercial television to become her assistant, as a CTW vice-president. One of Dann's tasks was to manage offers to produce versions of Sesame Street in other countries. In response to Dann's appointment, television critic Marvin Kitman said, "After [Dann] sells [Sesame Street] in Russia and Czechoslovakia, he might try Mississippi, where it is considered too controversial for educational TV".[124] This was a reference to the May 1970 decision by the state's PBS station to not air the series.[125] By summer 1970, Dann had made the first international agreements for what the CTW came to term "co-productions".[124]
The earliest international versions were what CTW vice-president Charlotte Cole and her colleagues termed "fairly simple",[107] consisting of dubbed versions of the series with local language voice-overs and instructional cutaways. Dubbed versions of the series continued to be produced if the country's needs and resources warranted it.[126] Eventually, a variant of the CTW model was used to create and produce independently produced preschool television series in other countries.[127] By 2006, there were twenty co-productions.[123] In 2001, there were more than 120 million viewers of all international versions of Sesame Street,[107] and by the show's 50th anniversary in 2019, 190 million children viewed over 160 versions of Sesame Street in 70 languages.[128][129] In 2005, Doreen Carvajal of The New York Times reported that income from the co-productions and international licensing accounted for $96 million.[130] As Cole and her colleagues reported in 2000, "Children's Television Workshop (CTW) can be regarded as the single largest informal educator of young children in the world".[107]
Interactive media
Ten years after the premiere of Sesame Street, the CTW began experimenting with new technologies. In 1979, it began to plan the development of a theme park, Sesame Place, which opened in 1980 in
In 2008, the Sesame Workshop began to offer clips and full-length episodes on the websites
See also
Notes
- ^ Writer Lee D. Mitgang, in his book about Morrisett's involvement with the Markle Foundation, reported, "The equally important role of Morrisett in ensuring Sesame Street's success and survival never received recognition approaching Cooney's public acclaim".[21]
- ^ Dann called the creation of the CTW "one of the most important breakthroughs in the history of the mass media".[106]
- ^ As of 2019, Sesame Street has produced 200 home videos and 180 albums.[104]
Citations
- Guidestar. June 30, 2014.
- ^ "Sesame Workshop Archived 2018-05-05 at the Wayback Machine". Exempt Organization Select Check. Internal Revenue Service. Accessed on May 20, 2016.
- ^ "Our Leadership". Sesame Workshop. Archived from the original on June 12, 2021. Retrieved January 1, 2022.
- ^ a b Davis, pp. 125–126
- ^ "Joan Ganz Cooney". www.sesameworkshop.org. Archived from the original on May 13, 2016. Retrieved May 15, 2016.
- ISSN 0028-7369. Retrieved November 18, 2019.
- ^ Palmer & Fisch in Fisch & Truglio, p. 5
- ISBN 0-8058-3395-1.
- ^ a b c Shirley Wershba (host) (April 27, 1998). "Joan Ganz Cooney, Part 3" (video clip). Archive of American Television. Retrieved November 18, 2019.
- ^ Davis, p. 12
- ^ O'Dell, p. 68
- ^ Davis, p. 15
- ^ Davis, p. 61
- ^ Davis, p. 16
- ^ Morrow, p. 47
- ^ Davis, pp. 66–67
- ^ Morrow, p. 71
- ^ Davis, p. 114
- ^ Davis, p. 105
- ^ Davis, p. 8
- ^ Mitgang, p. xvi
- ^ Mitgang, pp. 16–17
- ^ Mitgang, p. 17
- ^ Lesser, p. 17
- ISBN 0-8058-3395-1.
- ISBN 0-8058-3395-1.
- ^ Palmer & Fisch in Fisch & Truglio, p. 8
- ^ Mitgang, p. 45
- ^ "Remembering Professor, Emeritus, Gerald Lesser". Harvard Graduate School of Education. September 24, 2010. Archived from the original on November 20, 2019. Retrieved November 20, 2019.
- ^ Lesser, pp. 42–43
- ^ Lesser, p. 132
- ^ a b c Lesser, p. 39
- ^ Davis, p. 144
- ^ Morrow, p. 68
- ^ Cooney, Joan Ganz (1974). "Foreword", in Lesser, p. xvi
- ISBN 0-7868-6460-5.
- ISBN 0-8058-3395-1.
- ^ Lesser, p. 169
- ^ Morrow, p. 112
- ^ Davis, p. 154
- ^ Lesser, p. 40
- ^ Davis, p. 124
- ^ Davis, p. 127
- ^ Lesser, p. 41
- ISBN 978-0-679-41203-8.
- ^ Davis, p. 147
- ^ Gikow, p. 26
- ^ Davis, p. 192
- ^ a b c Shirley Wershba (host) (April 27, 1998). "Joan Ganz Cooney, Part 6" (video clip). Archive of American Television. Retrieved November 20, 2019.
- ^ Mitgang, p. 39
- ^ Davis, p. 216
- ^ a b c d O'Dell, p. 75
- ^ Davis, Michael (May 12, 2008). "PBS Revives a Show That Shines a Light on Reading". The New York Times. Archived from the original on April 3, 2019. Retrieved November 20, 2019.
- ^ a b c Shirley Wershba (host) (April 27, 1998). "Joan Ganz Cooney, Part 5" (video clip). Archive of American Television. Retrieved November 20, 2019.
- ^ O'Dell, p. 74
- ^ Yotive and Fisch, pp. 181–182
- ^ Gikow, pp. 282–283
- ^ Yotive and Fisch, pp. 182–183
- ^ Gikow, pp. 280–281
- ^ Gikow, pp. 286–293
- ^ a b Shirley Wershba (host) (April 27, 1998). "Joan Ganz Cooney, Part 7" (video clip). Archive of American Television. Retrieved November 20, 2019.
- ^ a b Shirley Wershba (host) (April 27, 1998). "Joan Ganz Cooney, Part 9" (video clip). Archive of American Television. Retrieved November 20, 2019.
- ^ Davis, p. 260
- ^ Carter, Bill (July 31, 1990). "Children's TV Workshop Head to Step Down". The New York Times. Archived from the original on November 27, 2019. Retrieved November 21, 2019.
- ^ O'Dell, p. 76
- ^ Brooke, Jill (November 13, 1998). "'Sesame Street' takes a bow to 30 animated years". CNN.com. Archived from the original on January 28, 1999. Retrieved November 21, 2019.
- ^ Frankel, Daniel (October 7, 1998). "Nader Says "Sesame Street" Sells Out". E! News. Archived from the original on April 7, 2019. Retrieved November 21, 2019.
- ^ Kirchdoerffer, Ed (June 1, 1998). "CTW and Nick put heads together to create Noggin". Kidscreen.com. Archived from the original on November 21, 2019. Retrieved November 21, 2019.
- ^ "The-N.com Terms & Conditions". Noggin LLC. Archived from the original on June 9, 2002.
This Site at THE-N.COM is fully controlled and operated by Noggin LLC, a joint venture of MTV Networks, a division of Viacom International, Inc., and Sesame Workshop.
- NY Daily News. Archivedfrom the original on November 2, 2015.
- ^ Flint, Joe (November 20, 1998). "Can Elmo get along with the Rugrats?". Entertainment Weekly.
- ^ Katz, Richard (April 29, 1998). "MTV uses Nick's Noggin as new net". Variety.
- ^ "Sesame Workshop gains character control from EM.TV". Muppet Central News. December 4, 2000. Archived from the original on August 17, 2019. Retrieved November 21, 2019.
- ^ Davis, p. 348
- ^ "CTW Changes Name to Sesame Workshop". Muppet Central News. Reuters. June 5, 2000. Archived from the original on November 21, 2019. Retrieved November 21, 2019.
- ^ a b Davis, p. 345
- ^ "Sponk!". SesameWorkshop.org. June 8, 2011. Archived from the original on June 8, 2011.
- Kidscreen.
- ^ Applebaum, Simon (February 19, 2003). "Noggin, Sesame Are Out There". Multichannel News.
- ^ Everhart, Karen (September 2, 2002). "Sesame Workshop sells its stake in Noggin cable network". Current.org. Archived from the original on April 2, 2016.
- ^ Jensen, Elizabeth (September 8, 2014). "Jeffrey D. Dunn Named Chief of Sesame Workshop". The New York Times.
- ^ Wan, Tony (February 1, 2016). "JV Is for VC: Sesame Street Creator Launches $10 Million Venture Fund for Child Development". EdSurge.
- ^ Godfrey, Leigh (August 9, 2002). "Nickelodeon Buys Out Noggin; Enters Into Production Deal With Sesame Workshop". Animation World Network.
- ^ "Noggin Orders 'Upside Down'". TVWeek. December 6, 2005.
- ^ "Sprout channel to launch on Comcast September 1". Muppet Central News. April 4, 2005. Archived from the original on November 21, 2019. Retrieved November 21, 2019.
- ^ Jensen, Elizabeth (November 13, 2013). "NBCUniversal Takes Full Ownership of Sprout Cable Network". The New York Times. Archived from the original on November 27, 2019. Retrieved November 21, 2019.
- ^ Jensen, Elizabeth (December 6, 2007). "Institute Named for 'Sesame' Creator". The New York Times. Archived from the original on June 21, 2020. Retrieved November 21, 2019.
- ^ Guernsey, Lisa (May 22, 2009). "How Sesame Street Changed the World". Newsweek. Archived from the original on December 10, 2019. Retrieved November 22, 2019.
- ^ Isidore, Chris (June 26, 2013). "Layoffs hit Sesame Street". CNN Money. Archived from the original on November 23, 2019. Retrieved November 22, 2019.
- ^ Kahana, Menahem (October 2, 2011). "Gary Knell named chief of NPR". USA Today. Archived from the original on March 5, 2016. Retrieved November 22, 2019.
- ^ Westin, Sherrie (October 3, 2011). "Sesame Workshop Appoints H. Melvin Ming as President and CEO" (Press release). New York: Sesame Workshop. Archived from the original on December 26, 2011. Retrieved November 22, 2019.
- ^ Jensen, Elizabeth (September 8, 2014). "Jeffrey D. Dunn Named Chief of Sesame Workshop". The New York Times. Archived from the original on March 8, 2021. Retrieved November 22, 2019.
- ^ Fishman, Lizzie; Greenberg, Courtney (October 27, 2020). "Sesame Workshop Announces Leadership Transition, Effective January 1, 2021" (Press release). New York: Sesame Workshop. Archived from the original on April 17, 2021. Retrieved January 1, 2022.
- ^ a b Guthrie, Marisa (February 6, 2019). "Where 'Sesame Street' Gets Its Funding — and How It Nearly Went Broke". The Hollywood Reporter. Archived from the original on April 18, 2019. Retrieved April 20, 2019.
- ^ a b Davis, p. 203
- ^ Davis, p. 218
- ^ O'Dell, p. 73
- ^ Davis, pp. 218–219
- ^ a b c Cherow-O'Leary in Fisch & Truglio, p. 197
- ^ a b c d Gikow, p. 268
- ^ a b c d Davis, p. 205
- ^ Davis, pp. 203–205
- ^ Davis, p. 204
- ^ a b c d e Wallace, Debra (February 6, 2019). "Big Bird Has 4,000 Feathers: 21 Fun Facts About Sesame Street That Will Blow Your Mind". Parade. Archived from the original on April 5, 2021. Retrieved April 11, 2019.
- ^ a b c d Guthrie, 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. Archived from the original on February 24, 2021. Retrieved April 16, 2019.
- ^ Lesser, p. 36
- ^ a b c d e Cole et al. in Fisch & Truglio, p. 147
- ^ Gikow, p. 11
- ^ Carvajal, Doreen (12 December 2005). "Sesame Street Goes Global: Let's All Count the Revenue". The New York Times. Retrieved 12 May 2014
- ^ Davis, p. 5
- ^ Frankel, Daniel (October 7, 1998). "Nader Says "Sesame Street" Sells Out". ENews. E! Entertainment Television. Archived from the original on April 4, 2019. Retrieved April 3, 2019.
- ^ Shapiro, Ariel (June 20, 2018). "Apple makes a big push into kids' content with creators of Sesame Street". CNBC.com. Archived from the original on April 12, 2019. Retrieved April 12, 2019.
- ^ Cherow-O'Leary in Fisch & Truglio, p. 198
- ^ Davis, p. 206
- ^ Cherow-O'Leary in Fisch & Truglio, p. 210
- ^ Gikow, p. 220
- ^ Gikow, p. 227
- ^ Palmer & Fisch in Fisch & Truglio, p. 17
- ^ a b Davis, p. 256
- ISBN 0-7868-6460-5
- ^ a b Gikow, p. 221
- ^ Gikow, p. 270
- ^ a b Knowlton, Linda Goldstein and Linda Hawkins Costigan (producers) (2006). The World According to Sesame Street (documentary). Participant Productions.
- ^ a b Davis, p. 209
- ^ Guernsey, Lisa (May 23, 2009). "How Sesame Street Changed the World". Newsweek. Archived from the original on April 12, 2016. Retrieved November 23, 2019.
- ^ Gikow, p. 252
- ^ Cole et al., in Fisch & Truglio, p. 148
- ^ Wallace, Debra (November 23, 2019). "Big Bird Has 4,000 Feathers: 21 Fun Facts About Sesame Street That Will Blow Your Mind". Parade. Archived from the original on April 5, 2021. Retrieved November 23, 2019.
- ^ Bradley, Diana (July 27, 2018). "Leaving the neighborhood: 'Sesame Street' muppets to travel across America next year". PR Weekly. Archived from the original on June 19, 2020. Retrieved November 23, 2019.
- ^ Carvajal, Doreen (December 12, 2005). "Sesame Street Goes Global: Let's All Count the Revenue". The New York Times. Retrieved November 23, 2019.
- ^ a b Revelle et al. in Fisch & Truglio, p. 215
- ^ Miller, John M. (Fall 2008). "The Atypical Theme Park". Pennsylvania Center for the Book. Pennsylvania State University. Archived from the original on August 30, 2019. Retrieved November 23, 2019.
- ^ Gikow, p. 284
- ^ Gikow, p. 282
- ISBN 0-8058-3936-4.
- ^ Revelle et al. in Fisch & Truglio , p. 217
- ^ Gikow, p. 285
- ^ "2009 Sesame Workshop". Peabody Awards. Archived from the original on October 9, 2019. Retrieved November 24, 2019.
- ^ Getzler, Wendy Goldman (May 20, 2010). "Sesame Street debuts new eBookstore". Kidscreen. Archived from the original on February 24, 2021. Retrieved November 23, 2019.
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