Born and raised in Washington, D.C., currently living in Philadelphia, Megan is focused on How we use storytelling and the sharing of life expriences to effect real change

The Unmistakable Black Roots of ‘Sesame Street’

Forty years ago, upon the tenth anniversary of the debut of “Sesame Street,” the New York Times offered an appraisal of the revolutionary children’s television program, reminding readers that the show with universal appeal initially declared its target audience, “the four-year old inner-city black youngster.” This year, as the show commemorates its 50th anniversary and is broadcast in more than 150 countries, it’s worthwhile to take a look back at how since its inception, “Sesame Street” has been rooted in African-American culture, more specifically the historically black community of Harlem. The New York City neighborhood played such an outsized role in the development of the program—from set design to casting and marketing—the answer to the question from the “Sesame Street” opening song, “Can you tell me how to get to Sesame Street,” ought to be Duke Ellington’s “Take the A Train.”

“Sesame Street” arose from the Lyndon B. Johnson administration’s Great Society agenda, a series of federal programs that carried the ambitious goal of eliminating poverty and racial injustice. As part of these aspirations, Johnson, who had taught poor Mexican-American children while a student in college, created Head Start in 1965, seeking to disrupt the multi-generational cycle of poverty through early education programs for disadvantaged preschool children.

Joan Ganz Cooney, the creator of “Sesame Street,” said in a 1998 interview that a documentary she produced on the Harlem pre-school program that would become Head Start led her to “become absolutely involved intellectually and spiritually with the Civil Rights Movement and with the educational deficit that poverty created.” Soon thereafter, she teamed up with her friend Lloyd Morrisett, a psychologist and Carnegie Corporation executive, who was looking to back a pre-school education model that could reach a great number of inner-city children. Morrisett secured additional private sector and federal government support, and the Children’s Television Workshop (CTW), the entity that would produce “Sesame Street” among other beloved educational programming, was born.

Continue reading at the Smithsonian Mag here, courtesy of Bryan Greene.

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