Street Gang: The Complete History of Sesame Street
By Michael Davis, Caroll Spinney (narrator)

In advance of the 40th anniversary of Sesame Street, comes Street Gang, Michael Davis's compelling--and often comical--story of the creation and history of the media masterpiece and pop culture landmark, told with the cooperation of one of the show's co-founders, Joan Ganz Cooney. Sesame Street was born as a result of a discussion at Cooney's home about the poor quality of children's programming, and hit the air as a big bang of creative fusion from Jim Henson and company, quickly rocketing to success. Street Gang, traces the evolution of the show from its inspiration in the civil rights movement through its many ups and downs--from Nixon trying to cut off its funding to the rise of Elmo--via the remarkable personalities who have contributed to it, and reveals how it has taught millions of children not only their letters and numbers, but cooperation and fair play, tolerance and self-respect, conflict resolution, and the importance of listening. This is the unforgettable story of five decades of social and cultural change, and the miraculous creative efforts, passion and commitment of writers, producers, directors, animators and puppeteers who have created one of the most influential shows in the history of television.

• Amazon Sales Rank: #916162 in Books
• Published on: 2009-01-01
• Original language: English
• Number of items: 7
• Binding: Audio CD

From School Library Journal
Starred Review. Caroll Spinney (carollspinney.com), the voice of Big Bird and Oscar the Grouch and winner of the Library of Congress's Living Legend Award, here narrates journalist Davis's gentle yet often surprising look at Sesame Street, the world's longest-running (40 years) and widest-reaching (120 countries) children's show. This will be a sure-fire hit in just about every library; highly recommended. [Includes a bonus interview with Davis and Spinney; the Viking hc was recommended "for all reference and browsing collections," LJ 12/08; visit www.streetgangbook.com for a bonus chapter profiling Roscoe Orman, who played Gordon on the show.—Ed.]—Joseph L. Carlson, Vandenberg Air Force Base Lib., Lompoc, CA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The New Yorker
In this history of �Sesame Street,� Davis writes that when the show d�buted, in 1969, the goal of its creators was nothing short of righting �the inequities in our society� through the education of lower-class preschoolers. Such populist choices as an urban setting, a multiracial cast, and a catchy brand of �edutainment� reflected both the mood of the era (it should �jump and move fast and feel and sound like 1969,� a producer said) and painstaking research: a series of seminars held in the summer of 1968 was attended by developmental psychologists, television-industry insiders, and children�s authors and entertainers (Maurice Sendak endured boring sessions by making X-rated doodles; Jim Henson�s sandals and beard sparked fears that he was a Weatherman). The book�s strongest sections are culled from extensive interviews with Joan Ganz Cooney, who oversaw production for more than twenty years, but the narrative loses steam once the show hits the air.
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From The Washington Post
From The Washington Post's Book World/washingtonpost.com "Sesame Street," the children's TV show that debuted in November 1969 and is still going strong, is part of the wallpaper of contemporary popular culture, a fertile source of memories, motifs, music and more to virtually anyone under 45 in the United States -- or the 119 other countries in which the series airs. How ubiquitous is "Sesame Street"? Consider this: Shortly after Sept. 11, 2001, anti-American demonstrators in Bangladesh flooded the streets waving posters of Osama bin Laden seated next to the show's popular yellow muppet Bert, who along with rubber-ducky enthusiast Ernie makes up one of the most relentlessly chaste same-sex couples since J. Edgar Hoover and Clyde Tolson shuffled off their mortal coils. In their rush for images of their new hero bin Laden, the demonstrators had unwittingly downloaded pictures from one of countless Bert Is Evil websites that photoshop the famously fussy character into scenes with history's greatest villains (Bert has been spotted with Hitler, Stalin and Mao, among others). Street Gang, by former TV Guide columnist and editor Michael Davis, is an exhaustive account of how we got to "Sesame Street." Written in cooperation with the woman behind the show, Joan Ganz Cooney, it charts the program from its conception in the waning days of the Great Society. "Sesame Street," Davis writes, effectively created modern educational programming by asking, "If television could successfully teach the words and music to advertisements, couldn't it teach children more substantive material by co-opting the very elements that make ads so effective?" Cooney had been a successful producer of well-regarded but little-watched public television programs. Aiming especially to reach low-income and minority kids, she pulled together a cast of veterans from such shows as "Captain Kangaroo," while assembling educational researchers to guide the pedagogy of the new show. No contributor was more important than Jim Henson, the muppet master whose laid-back hippie persona masked a bulldog businessman who never fulfilled his dreams of succeeding with a mature audience. Although much discussed in the book, Henson, who died unexpectedly in 1990 at 53 from "a runaway strep infection gone stubbornly, foolishly untreated," remains an almost completely enigmatic character. Some of the best passages in Street Gang recount behind-the-scenes stories, such as the time in the mid-1970s when Cooney secured an extension of federal funding for the show by successfully petitioning the patron saint of limited government, Sen. Barry Goldwater. And given the general uplift of the show, it's always compelling to read about nasty backstage wrangling, including an early '90s brouhaha when the show's politically correct research director insisted that for a particular muppet skit "the part of a chicken should only be played by a chicken." Yet Street Gang is mired in unnecessary details, endless litanies of names and prose that is several shades more purple than the skin of Count von Count, the show's obsessive-compulsive, mathematically inclined vampire. "Jon Stone approached a typewriter in the same way that a concert pianist approached a Steinway," Davis writes in a typical flourish, describing a co-producer of the show. Elsewhere, he intones that when Cooney decided to wean her production company off federal assistance, "she had unwittingly made a kind of Sophie's Choice. Sesame Street would survive, The Electric Company would not." Worse still, Davis seems quick to repeat every positive claim ever made about "Sesame Street," from singer and frequent guest-star Judy Collins's recollection that the show gave her "a spark, a will to live" during her boozy years in the '70s to a public broadcasting honcho's assertion that "This is the most important thing since the discovery of the atom bomb." While there's little doubt that "Sesame Street" has great market- and mind-share, whether on TV or in the nation's toy stores, it's far from clear that it has succeeded in its self-declared mission of preparing preschoolers for K-12 education. Indeed, the National Assessment of Educational Progress, which has tracked students since the early '70s, reports that there has been precious little increase in reading and math test scores among the generations raised on "Sesame Street" (despite the more than doubling of inflation-adjusted expenditures per pupil over the same period). That's not a knock on a show that continues to entertain millions of viewers, but a truly "complete history" certainly would have grappled with such questions in a more critical fashion.
Copyright 2009, The Washington Post. All Rights Reserved.

Hitting the pavement running
The television show that can appeal to children and make parents feel like they are good parents and upright citizens for showing it to their kids, that is where the money lies, my friends. Growing up I was not a discerning television viewer. I watched Mr. Rogers, Reading Rainbow, Pinwheel, Today's Special, and a whole host of bad cartoons ranging from Space Ghost to that bizarre time traveling one that was basically just a half hour commercial for Laser Tag. There was maybe only one show amongst the batch that some part of my small reptilian brain recognized as better than the rest. I was an avid Sesame Street fan. I loved the show, the movies, the awful books they churned out (The Monster at the End of this Book excepted). Oddly, this love didn't fade as I grew up. I still have a strange fascination with the world it created and years ago I purchased Sesame Street Unpaved to sate some of my curiosity. Who were these people who created my mental childhood home? Who were the actors? The puppeteers? The writers? Unpaved didn't do much to answer any of that, aside from giving me choice nuggets like the fact that Bob was a teen singing sensation in Japan. So the time seems just about right for Street Gang: The Complete History of Sesame Street. Pulling in at a cool 406 pages, author Michael Davis has gone above and beyond the call of duty. And while I might have removed a chunk or two for the sake of svelting down the book as a whole, you will not and can not find a book that will better answer your questions about the birth of this most impressive of children's television shows.

It began at a dinner party where a man launched into a speech about the vast unfulfilled potential of television. It began with a sentence from a psychologist: "Do you think television could be used to teach small children?" There wasn't any answer to either of these points at the time, until Sesame Street formed. Sesame Street, the greatest educational television show for young children ever created, was the product of a lot of sweat, tears, and psychological blood. Under the care of Joan Ganz Cooney it found its legs. Performers like Jim Henson were brought on board. Actors and teachers, corporations and people who worked the streets of Harlem... there were people involved in its birth that would have no idea of its future impact. With a practiced eye author Michael Davis dives into Sesame Street's world, bringing up everything from previous children's programming to musical geniuses to the death of Jim Henson and beyond. An exhaustive, almost entirely complete, examination of the forces behind Oscar, Big Bird, Bert, Ernie, and even Elmo.

Picking up the book I admit that at first I did not much care about the people behind the scenes. In fact, if you are reading this book solely for the purpose of finding out more about Carol Spinney and Sonya Manzano, you may just want to start reading at Chapter Fifteen and not look back. I'd encourage you to reconsider, though, because when you get right down to it Sesame Street owed its very existence to the people involved in everything from Howdy Doody to Captain Kangaroo. From Ding Dong School to Tinker's Workshop, from Kukla Fran and Ollie to Laugh-In (it makes sense when you think about it), all these shows played some small role in Sesame Street's creation. And then you start to become involved with these characters pulling the strings. Joan Ganz Cooney wasn't just the show's mother; she was and is a truly fascinating woman in her own right. The kind of person who was, for example, Vin Scully's date the night the Dodger's won the World Series in 1955. Every person involved has stories like this one in their histories. And Michael Davis has done his best to sniff them all out.

Of course, if all you want is to know about is information on the performers, there's plenty of that to go around as well. This book delves into the nitty gritty of everything from Northern Calloway's (David's) mental instability (and the real reason he died) to the Belgian born jazzman who plays during the show's musical opening. You can find out how every guy on the show essentially thought that Maria (Sonya Manzano) was way hot. Or the fact that Bob really really WAS a Japanese pop star for a while there. There is an odd blip when it comes to talking about the third Gordon on Sesame Street, Roscoe Orman. Davis chooses not to talk about this major player in spite of the fact that he is the Gordon most children watching from Season Six onward think of when his name is said. As one of the early major players, his absence is an odd glitch in an otherwise complete collection.

A significant portion of the book is dedicated to the seemingly dull but strangely fascinating topic of basic funding for an untested hypothesis: Can television teach? Our new millennium renders such a question almost laughable. Duh, of course it can teach. But it wasn't so evident pre-Sesame Street. So it is that for me, a child of the 80s, the book provides some background to those mysterious names that would appears before and after each episode of the show. Things like The Children's Television Workshop, The Carnegie Corporation, The Corporation for Public Broadcasting, and (altogether now) viewers like you! Children of the 60s may have memorized commercial jingles but children of the 80s memorized funding contributors.

If this history does anything it may make you shake your head in wonder over the fact that so many different concerns (money vs. education) could successfully come together to create something as cohesive as Sesame Street. It reminds me of the creation of Casablanca. Now there was a script that went through so many hands, revisions, changes, and writers that it should have ended up some kind of unholy mess. Instead it's one of the greatest movies today. Likewise Sesame Street had to run the gamut between corporations, funding entities, educational critics, artists (who would contend that all creative products had to avoid objective scrutiny) not to mention feminists, blacks, Hispanics, and other people who wanted a show to reflect an all inclusiveness never before seen on the airwaves. And credit where credit's due, the show really didn't become all that inclusive until people like women and Hispanics started to complain about their exclusion. So it is that Sesame Street stands as the last true legacy of the 60s. At least, until recently.

Because maybe one of the things the book does most perfectly is to provide a step-by-step explanation of why Sesame Street sucks today. For many members of my generation, a long lingering look at today's incarnation of Sesame Street can be a painful experience. We see the princess fairy Muppet and cringe. We watch a little bit of Elmo's World and experience sugar shock. I read through this book and I discover that in the past there was a team of in-house researchers who would regularly consult with the writers on what to produce for the kids. That prior to each broadcast the content was tested in daycare centers or Head Start classrooms for the children. And that after the shows the researchers evaluated the programs to see how effective they were to meet the shows "education goals". Davis says that Sesame Street was "the first children's television series with a bona fide curriculum and evaluation mechanism." Is this still the case? When we consider a show that could combine the educational with the truly emotional, everything that happens on the current incarnation rings strangely false. I can't imagine any writer talking about today's Sesame Street saying: "There was birth and death, love and loss, courtship and calamity, pleasure and pain, all from a little show whose aims at first were simply to test television's ability to stimulate the brain."

Truth be told, Davis spends surprisingly little time considering the show in its later years. We know the changes it went through had something to do with Franklin Getchell. Something to do with the rise of Elmo. Something to do with the Tickle Me Elmo craze... actually a LOT to do with that. I was pleased as punch to read about the rise and fall of that brief attempt to expand the neighborhood with elements like a hotel and other places around the corner from "the street". However, I was utterly unprepared for the revelation that Abby Cadabby, the Ally McBeal of the Sesame Street universe, was the direct brainchild of Joan Ganz Cooney herself. That hurt. Now we have a show that is profitable, that can compete with Nick Toons, the Disney Channel, and other major competitors, but that somehow lost its way in the process. It met Barney head-on and then proceeded to emulate that horrid purple dinosaur. Not the happy ending one might have hoped for.

And none of this even touches on the millions of tiny details Davis has fearlessly worked into his book as well. Were you aware that Maurice Sendak sat in on some of the early Sesame Street planning seminars (and was bored to death by them)? Or that Mo Willems was the guy responsible for the look of Elmo's World? Or there's the fact that Cooney mistook Jim Henson for one of the Weathermen the first time she saw him. Or the fact that Frank Oz was able to turn Bert into "everyone's idea of a blind date." Or that Mississippi originally refused to run the show because it was "not yet ready" for a program where kids of different races played together. Or that Linda, who was deaf, really did have a library science degree just like her character. I could go on, really. But best that you find out some of this stuff for yourself.

In terms of the writing itself, as an author Davis plays with time and continuity like a child with a bouncy bauble. One minute you're in the 1950s, then you suddenly leap forward to the 70s, and then back again to where you were when you started. One such example is when he mentions the Children Television Workshop on page 121 (I'm working off of a galley, so my page numbers may not match up to the final copy) and then doesn't go about explaining what it is until page 127. The result is that you're left with the impression that you must have missed something along the way. It also means that as an author Davis has decided to be consistent about names, which adds its own confusion. For example, Joan Ganz Cooney is always referred to as Cooney (her married name) even when we hear about her pre-married life, while Sesame Street is always called by that name rather than a generic "the show", which makes the whole how-it-got-its-name section seem almost redundant (not to say, confusing).


Davis also has a penchant for a pretty bizarre turn of phrase. When discussing the hanky panky that went on behind the scenes he says with a straight face, "Philandering tends to rub the topcoat off a man's soul. All it took was a look at the reflection in the shaving mirror to see the painful loss of luster. " Hoo boy. Or how about the night Sesame Street was thought of, which involved some people having a dinner from a recipe in a Julia Child book. "Let history note, then, that Julia Child, public television's grand dame, provided the savory sauce poured on the night Sesame Street was conceived." But you can get used to it. Once you get into Davis's style the words become enjoyable. Like describing Jon Stone's attempts to sidestep "a water bug the size of a Sunsweet prune."

Of course, the book is long. Too long, one might think. For a Sesame Street fanatic like myself, this is not a problem. I love diving into the minute details and the millions of tiny backstories. Others who simply want a comprehensive look at the show itself, however, may find themselves wading through a lot of information before they find what they want. So while I enjoyed every page in my own way, I concede that some judicious pruning would probably be in order.

In the end, the book makes for a perfect complement to the Sesame Street Old School: Vol. 1 DVD released a year or two ago. The information gathered in the book spills over nicely into the DVD. Now before picking this title up, I suggest that you figure out what kind of Sesame Street fan you are. If you've only a passing interest in the show, you may wish to skim this book. If you are a rabid fan, it will answer your every need. And if you fall somewhere in the middle you will find a book that answers your questions, raises even more, and though a bit long is a fun and satisfying look at a world that has passed. A world that did a lot of good in its day, and that will continue to charm in one way or another.

A great book for any fan of Sesame Street
I don't know what's wrong with Laura Jeffer but I disagree with her review 100%. I've never written into Amazon regarding any product I've purchased, but felt the author, Michael Davis, was unjustly portrayed in his brilliant brook. As a fan of Sesame Street for too many years to count, I loved the book. I carried on my love of Sesame Street to my three children and know when they're older they'll enjoy the book as much as I did. I'm 3/4 through the book and it's filled with so many great stories, in addition, it's a fun learning experience. I think the book makes a great gift, too, for all the millions of Sesame Street Fans. I highly recommend "Street Gang; The Complete History of Sesame Street." I'll conclude this now, as I can't wait to finish the rest of the book.

Let's hope a better Sesame bio comes along
Despite its considerable heft, "Street Gang" is probably more remarkable for its odd omissions than its (also pretty odd) inclusions. So Sesame fans, take heed. You are not going to learn anything about the Snuffy-is-real revelation that so many have pegged as the moment when Sesame Street started its descent into total PC-osity. Nor will you learn anything about the celebrity guests, considered the key to Sesame Street's adult appeal since the beginning. No word on the independent animators who worked on those short commercial segments, or about how they were produced. There's a brief section on the beginning of Sesame Street's international co-productions that barely glosses the issue of how international Sesame-clones are produced, then nothing. And forget about the semantics on which superfans thrive. Looking for info on the three Gordons, or why Grover and Oscar changed color over the first season? This is not your book!

So what IS included in "Street Gang"? Davis spends much of the book answering questions that even the biggest Sesame Street fan would never think to ask. While the conception of "Sesame Street" makes for an interesting story, Davis bogs down the narrative in the first half of his book by introducing comprehensive mini-bios of every government bureaucrat and PR lackey that worked on the show during its formative years. That's nearly the entire first half of the book. The second half of the book shifts its focus to the talents that made Sesame Street worthy of attention in the first place, but while this section of the book makes for a fairly entertaining read, one comes away with very little insight into the way the creative life of Sesame Street functions apart from the bureaucracy that runs the show.

The most damaging omission in the book is an absence of meaningful analysis regarding the lasting influence - or lack thereof - that Sesame Street has had on children's entertainment. While Davis has a lot to say about how early educational television influenced Sesame Street (though he excludes Mr. Rogers from this discussion entirely!) he has virtually nothing to say about how Sesame Street influenced children's television in the 21st century. We are told that the game changed with Barney, but that's about as far as it goes. In fact, there is a sad sense of irrelevancy that hovers over Street Gang's abrupt ending, a sour note suggesting that the 200 pages' worth of research, development, and planning that resulted in Sesame Street ultimately came to nothing. Perhaps 40 years of hindsight isn't enough to gauge Sesame Street's impact on children. If that's the case, then this Sesame fan hopes that the definitive book on Sesame Street still has yet to be written.