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Street Gang is reaching a new audience with the release of the documentary.
In 2004, Michael Davis was a senior editor at TV Guide. His beat was one that often flew under the radar: children’s television. But it was a perfect focus for Davis, who studied psychology and teaching before his journalism career.
He was covering children s television because, frankly, no one else wanted to. I was in no position to say, No thank you. But the truth is, I was very happy to take on children s television as a beat, Davis said recently, smiling.
Courtesy of Michael Davis
Street Gang: How We Got to Sesame Street Maps the History of a Revolutionary Kids TV Show That Still Has Plenty to Teach Us Time 5/7/2021
When
Sesame Street first hit the public-television airwaves, in 1969, the target audience of kids aged three to five took to it immediately. But older kids, and even college kids, watched it too: If its goal had been to “sell” preschool kids on learning their alphabet and numbers, the way advertising sold goods to consumers, its methods of doing so were so hip and entertaining that everyone wanted a look. Its set, a semi-realistic ramshackle street inspired by real-life late-1960s Harlem, served as an anchor for a kind of groovy learning variety show for kids, featuring neo-psychedelic animated segments in which numerals and alphabet letters danced and squiggled across the screen, not to mention a full neighborhood of performers both human and Muppet that, for lots of kids, would come to be a de facto family.
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Vicky McClure (left) and Perry Fitzpatrick standing next to her in Line of Duty (Image: BBC/World Productions)
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I ll always remember where I saw my first Hispanic person: She was on Sesame Street. Growing up in industrial Northern Britain in the 1970s, there were no Hispanic people, and so seeing Maria hanging out with Oscar, and Big Bird, and Gordon, and Bert, and Ernie, was one of those quiet teaching moments that made
Sesame Street so important.
I Am Big Bird, and Kevin Clash via
Being Elmo, and having grown up with Jim Henson and Frank Oz as our uncles inside the TV, historical documentary
Street Gang takes one step to the side behind the camera to get the first real documentary look at three of the people who made it possible. At the strategic level, there were Joan Ganz Cooney, the producer who convinced the Carnegie Corporation to get involved with a crazy idea called the Children s Television Workshop, and Lloyd Morrisett, the experimental psychologist who saw the power of television as an educational tool. Forging the day-to-day tactics, and living down in the trenches, was Jon