By: Jordan Meadows | Staff Writer
When Sesame Street first graced television screens in 1969, it was far more than just another children’s show. It was a groundbreaking educational program, with its innovative approach to teaching children through a combination of puppetry, live-action, and music, while also addressing deeper social issues of race, culture, and identity.
The show was the brainchild of Joan Ganz Cooney and Lloyd Morrisett. Cooney, a television producer, had been influenced by the Civil Rights Movement. Through her work with Head Start, a federal program designed to prepare children from low-income families for school, Cooney became acutely aware of the educational gaps that existed for children, especially in inner-city neighborhoods.
Morrisett, who had a background in experimental psychology and a deep commitment to social causes, shared Cooney’s vision. Together, they set out to create a program that would not only teach children their ABCs and 123s but also provide them with a sense of self-worth and belonging—particularly Black and Brown children who had been historically misrepresented on television. Their vision was to create a show that represented the neighborhoods, cultures, and communities in which many of these children lived.
One of the key contributors to the show’s success was Jon Stone, a Yale graduate with experience in children’s television. Stone was brought on as a writer and producer and quickly became integral to the program’s creative direction. He conceptualized the idea of placing the show in an urban setting, a decision that would further distinguish Sesame Street from other children’s programs of the time.
The show’s set was designed to look like a typical New York City neighborhood, inspired by the brownstones and cobblestone streets of Harlem. Stone and the production team worked with set designer Charles Rosen to capture the essence of inner-city life. The choice to model the set after Harlem was symbolic in many ways; Harlem was not only a cultural hub for Black Americans but also the site of significant social change, particularly during the Civil Rights era.
Stone was deeply inspired by a 1968 public service campaign in New York City, “Give a Damn,” which called on residents to take responsibility for the blighted areas of Harlem and other underdeveloped neighborhoods. Stone believed that Sesame Street needed to present a positive portrayal of city life that children could connect to—a stark contrast to the often negative or simplistic depictions of urban areas in the media.
Sesame Street was one of the first to feature a predominantly Black and Latino cast, with characters like Gordon and Susan—two central, Black figures—becoming household names. This was significant because, at the time, Black representation on television was minimal, and often skewed toward negative stereotypes. For many Black children, seeing characters who looked like them, who were educated, loving, and responsible, was an empowering experience.
The music on Sesame Street also reflected its commitment to representing Black culture. The show featured soul, funk, and jazz music, with iconic songs like “Sing” by Joe Raposo and performances from artists like Mahalia Jackson, Nina Simone, and James Earl Jones. These musical choices were a celebration of Black culture. The inclusion of gospel legends like Jackson and Simone, who performed on the show, reinforced the idea that Black children deserved to see and hear themselves reflected in the media they consumed.
The show’s creators were also mindful of the importance of positive role models. They enlisted a diverse array of guest stars, including Jackie Robinson, Shirley Chisholm, and even Ethel Kennedy, to further reinforce the notion that Black Americans were key figures in shaping the world around them.
Despite the overwhelming positive response to Sesame Street in many parts of the country, the show faced significant backlash in some regions, particularly in the South. The show’s portrayal of racial integration—Black and White children playing and learning together—was too much for some states, including Mississippi, to accept.
In 1970, Mississippi’s state commission on public television voted to ban the show from airing, citing its racially integrated cast and its portrayal of Black and White children as equals. The commission’s decision was made in response to complaints from parents who were uncomfortable with the inclusive messages the show conveyed.
An anonymous member of the commission argued that Mississippi was “not yet ready” for such integration on children’s television, embodying the state’s deeply entrenched segregationist views at the time.
The decision quickly sparked national outrage. Sesame Street was seen as a progressive, inclusive educational tool that helped children of all races and backgrounds learn together. Joan Ganz Cooney and her team, however, were undeterred. They launched an extensive public outreach campaign to defend the show, stressing its educational value and universal appeal. After the decision gained national media attention, Mississippi eventually reversed its ban on the show.
Beyond the cultural and racial significance, Sesame Street had a profound impact on early childhood education. The show was part of a larger federal initiative—the Great Society agenda, spearheaded by President Lyndon B. Johnson—that aimed to combat poverty and racial injustice.
The show’s “hidden curriculum”—a term coined by Dr. Chester Pierce, an African-American psychiatrist who worked on the program—focused on building the self-esteem and self-worth of Black children. Pierce’s work ensured the show’s inclusive message, paired with its focus on basic educational skills—becoming a model for future children’s programming.
As Sesame Street celebrated its 55th anniversary in 2024, it was clear that its legacy had far surpassed its original mission. The show had become a global phenomenon, broadcast in over 150 countries, and its impact on generations of children of all races was undeniable.
