“I’m still pinching myself that my dad, my own flesh and blood, had Ernie on one hand and Bert on the other,” Eli Attie says. “It is like he got to sit at Abbey Road studios and watch the Beatles record I Want to Hold Your Hand.” Attie’s father was the photographer David Attie who, in 1970, visited the set of Sesame Street in New York City during its first season. His images lay forgotten in a wardrobe for the next 50 years, until Eli recently discovered them, leading to them being gathered together for a new book. They are a glimpse behind the curtain of a cultural phenomenon waiting to happen. Here are not only Bert and Ernie but Kermit, Big Bird, Oscar the Grouch with his original orange fur (he was green by season two). And here are the people who brought these characters to life, chiefly Jim Henson and Frank Oz, the Lennon and McCartney of Muppetdom. What also stands out in Attie’s images are the children visiting the set. As in the show itself, they are clearly so beguiled by the puppets, they completely ignore the humans controlling them.
Eli himself was one of those visitors, although he has no memory of it. “I was in diapers, and as the story goes, I was loud and not to be quieted down, and was yanked off the set,” he says. His parents and older brother Oliver at least made it into the photos. Oliver was even in an episode of the show, in the background in Hooper’s Store, Eli explains, with just a hint of jealousy.
Above: Bert and Ernie with puppeteers Daniel Seagren, Jim Henson and Frank Oz
Left: Cast member Bob McGrath, an actor and musician, in a segment called The People in Your Neighborhood.
Right: Henson (left) and Oz – the Lennon and McCartney of Muppetdom – operate puppets for a sketch titled Hunt for Happiness
Fifty-two years and more than 4,500 episodes later, Sesame Street remains the premier address in children’s entertainment. It is still watched by hundreds of millions around the world, and broadcast in more than 140 countries. One attempt to statistically measure the show’s impact on American society failed because nobody could find a large enough sample group who hadn’t watched it. Sesame Street’s place in US culture was bizarrely underlined last month when Big Bird announced on Twitter: “I got the Covid-19 vaccine today! My wing is feeling a little sore, but it’ll give my body an extra protective boost that keeps me and others healthy.” He was promoting the rollout of vaccinations to five- to 11-year-olds, but Big Bird’s tweet, combined with Sesame Street’s recent introduction of a new Korean American muppet, has prompted a conservative backlash. Texas senator Ted Cruz responded: “Government propaganda … for your 5 year old!” Cruz later doubled down, tweeting a cartoon of the Sesame Street characters sitting around the Thanksgiving dinner table, with a dead, cooked Big Bird in place of a turkey.
Others piled in. The influential Conservative Political Action Conference (CPAC) expressly banned Big Bird and other Sesame Street characters from its next conference, and CPAC organiser Matt Schlapp called for PBS, which broadcasts the show (although new episodes now air on HBO Max), to be defunded. “They just won’t stop in their push for woke politics,” he complained. Arizona state senator Wendy Rogers went even further, declaring: “Big Bird is a communist.”
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Beyond the optics of beating up on universally beloved children’s characters, in the context of David Attie’s images, these takes could hardly be more wrong. Attie had been commissioned to photograph Sesame Street by Amerika, a Russian-language magazine funded by the US state department and distributed in the Soviet Union. Essentially, it was a cold war propaganda project. Soviet officials would regularly return copies of Amerika to the US embassy unsold, saying their citizens were not interested. In truth, the magazine was so sought after, it became a black-market commodity, explains Eli Attie. “One embassy official said to me they had traded two copies of Amerika for these impossible-to-find ballet tickets in Moscow at the time,” he says. So Sesame Street was used as government propaganda, just not in the way Cruz and Rogers might imagine.
The choice of a New York street scene was a radical move in children’s TV in the 60s.
You could say that Sesame Street had a political mission from the outset, as the new documentary, Street Gang: How We Got to Sesame Street (to which Attie’s book is a companion piece), lays out. One of the show’s co-founders, the broadcaster Joan Ganz Cooney, was involved “intellectually and spiritually” with the civil rights movement. The other, psychologist Lloyd Morrisett, was concerned about a widening education gap in the 1960s US, which was leaving behind socioeconomically deprived children, particularly African Americans. These children were often spending long hours at home watching television while their parents were busy working. Instead of jingles for beer commercials, Cooney and Morrisett reasoned, why not use television to teach them literacy and numeracy?
Above: Big Bird with actors Loretta Long and Matt Robinson, AKA husband and wife duo Susan and Gordon.
Below: According to Big Bird’s operator Caroll Spinney, his ‘sometimes sad, very complex character’ gave the show its depth.
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With an $8m federal grant, the newly formed Children’s Television Workshop spent two years researching how to make content that would not only be educational but entertaining. That’s where The Muppet Workshop came in (even if the hippy-ish Henson was initially distrusted by his more academic colleagues). Not to mention the songs, the anarchic comedy sketches, the surreal animations, and the improvised child-with-muppet segments. The whole thing was an experiment. Nothing like it had been done before and there was no guarantee it would be a success, but everyone seemed to be on the same page.
As Cooney puts it in the documentary: “We weren’t so worried about reaching middle-class children but we really, really wanted to reach inner-city kids badly. It was hardly worth doing if it didn’t reach them.” This explains why the show was set on an ordinary New York street – a radical move for children’s TV, a familiar place for the target audience. Equally radically, the show was multicultural and inclusive from the start, with white, Black and Latino actors alongside non-human characters of all colours. Even the title sequence and the guests reflected the US’s diversity (the first season featured James Earl Jones, BB King, Mahalia Jackson and Jackie Robinson). As the long-running writer and director Jon Stone said of the show’s inclusive approach: “We’ve never beaten that horse to death by talking about it; we simply show it.”
Muppet designer and performer Caroly Wilcox goes to work with Henson.
Sesame Street has taught kids about all manner of life topics. Not only racism (most recently with the introduction of two new African American characters, post-Black Lives Matter) but also poverty, addiction, autism, HIV and Aids, public health (Covid was not Big Bird’s first jab, he also got a measles vaccination in 1972), and gentrification (in 1994, the street was under threat of demolition from a loud-mouthed property tycoon named “Ronald Grump”, played by Joe Pesci). Sesame Street has even tackled the concept of death: when Will Lee, who played storekeeper Mr Hooper, died in 1982, the show featured a wrenching segment in which neighbours, clearly tearfully, explain to Big Bird that Mr Hooper is dead and is never coming back.
Spinney, who played Big Bird for almost 50 years until his death in 2019, jokes with children on set.
It wasn’t just “inner-city kids” Sesame Street was popular with. While his father was working, Eli Attie’s artist mother would also put him and his brother in front of the TV to watch it so she could paint. “There was a block of hours that it was on public broadcasting stations in the New York region. So she just thought: ‘Hallelujah. I can place them here, they’re entertained,’” he says. “We were learning to count, we were learning to spell and we were learning a kind of comedy: we both became fans of Monty Python and standup comedy and I’m sure this was the gateway.” Attie went on to become a TV writer and producer, working on shows such as The West Wing, House and Billions.
Above: Filming on set of Sesame Street.
Below: Henson with the Dentist and the Bus Driver from the song The People in Your Neighborhood, which was about different occupations.
Sesame Street’s inclusive, humane, progressive agenda has always had its enemies. Mississippi broadcasters refused to air the first season back in 1969 on account of the show’s desegregated setting (they backed down after a few weeks). In the past decade, the conservative chorus of disapproval has been getting louder. Before Cruz and co, the show and PBS have been targeted by the likes of Mitt Romney, Fox News, and, inevitably, Donald Trump.
“Sesame has never been a political show; it has been a very socially relevant show,” says Trevor Crafts, producer of the Street Gang documentary. Although the political climate today has echoes of the 1960s, when Sesame Street was created, he feels. “It was a very similar time. There was a lot of social unrest, and here we are again. It just shows that you need something like Sesame Street to sort of increase the volume of good in the world. And also to know that through creativity, you can make change. Positive change can occur if you’re willing to see a problem and try to fix it and do it creatively.”
Spinney with Oscar the Grouch. Henson had wanted Oscar to be magenta, but television cameras couldn’t process the shade. In season two, Oscar became green.
Long gets a peek into Oscar’s trashcan. Now in her 80s, she went on to be one of the longest-serving members of the original cast.
Where some might see a political agenda, many more would simply see a model for the kind of society the US would like to be. “I think it showed everybody: ‘This is who we should be in our hearts,’” Eli Attie says. “It was utopian. It was optimistic, it was challenging and smart. And it didn’t talk down to children.” As well as a family album, his father’s photos capture that spirit of playful idealism. “I see now that’s part of who I am,” he says. “And it’s part of who we all are.”
• The Unseen Photos of Street Gang: How We Got to Sesame Street by Trevor Crafts, with photographs by David Attie, is published by Abrams on 23 December at £28.99. To support The Guardian and Observer, order your copy for £25.22 at guardianbookshop.com. Delivery charges may apply. The documentary Street Gang is on HBO in the US on 13 December and in the UK next year.
