One of the most heartÂfelt stuÂdent-to-teacher tribÂutes is that of Nobel Prize-winÂning author and philosoÂpher Albert Camus to Louis GerÂmain, a father subÂstiÂtute whose classÂroom was a welÂcome reprieve from the extreme poverÂty Camus expeÂriÂenced at home. GerÂmain perÂsuadÂed Camus’ widÂowed mothÂer to allow Camus to comÂpete for the scholÂarÂship that enabled him to attend high school.
As read aloud by actor BeneÂdict CumÂberÂbatch, above, at LetÂters Live, a “celÂeÂbraÂtion of the endurÂing powÂer of litÂerÂary corÂreÂsponÂdence,” Camus’ 1957 mesÂsage to GerÂmain is an exerÂcise in humilÂiÂty and simÂply statÂed gratÂiÂtude:
Dear MonÂsieur GerÂmain,
I let the comÂmoÂtion around me these days subÂside a bit before speakÂing to you from the botÂtom of my heart. I have just been givÂen far too great an honÂour, one I neiÂther sought nor solicitÂed.
But when I heard the news, my first thought, after my mothÂer, was of you. WithÂout you, withÂout the affecÂtionÂate hand you extendÂed to the small poor child that I was, withÂout your teachÂing and examÂple, none of all this would have hapÂpened.
I don’t make too much of this sort of honÂour. But at least it gives me the opporÂtuÂniÂty to tell you what you have been and still are for me, and to assure you that your efforts, your work, and the genÂerÂous heart you put into it still live in one of your litÂtle schoolÂboys who, despite the years, has nevÂer stopped being your grateÂful pupil. I embrace you with all my heart.
If it were posÂsiÂble, I would squeeze the great boy whom you have become, and who will always remain for me “my litÂtle Camus.”
He comÂpliÂmentÂed his litÂtle Camus on not letÂting fame go to his head, and urged him to conÂtinÂue makÂing his famÂiÂly a priÂorÂiÂty. He shared some fond memÂoÂries of Camus as a genÂtle, optiÂmistic, intelÂlecÂtuÂalÂly curiÂous litÂtle felÂlow, and praised his mothÂer for doing her best in difÂfiÂcult cirÂcumÂstances.
ReadÂers, please use the comÂments secÂtion to share with us the teachÂers deservÂing of your thanks.
You can find this letÂter, and many more, in the great LetÂters of Note book.
Note: An earÂliÂer verÂsion of this post appeared on our site in 2017.
We can learn much about how a hisÂtorÂiÂcal periÂod viewed the abilÂiÂties of its chilÂdren by studyÂing its chilÂdren’s litÂerÂaÂture. OccuÂpyÂing a space someÂwhere between the pureÂly didacÂtic and the nonÂsenÂsiÂcal, most children’s books pubÂlished in the past few hunÂdred years have attemptÂed to find a line between the two poles, seekÂing a balÂance between enterÂtainÂment and instrucÂtion. HowÂevÂer, that line seems to move closÂer to one pole or anothÂer dependÂing on the preÂvailÂing culÂturÂal senÂtiÂments of the time. And the very fact that children’s books were hardÂly pubÂlished at all before the earÂly 18th cenÂtuÂry tells us a lot about when and how modÂern ideas of childÂhood as a sepÂaÂrate catÂeÂgoÂry of exisÂtence began.
“By the end of the 18th cenÂtuÂry,” writes NewÂcasÂtle UniÂverÂsiÂty proÂfesÂsor M.O. GrenÂby, “children’s litÂerÂaÂture was a flourÂishÂing, sepÂaÂrate and secure part of the pubÂlishÂing indusÂtry in Britain.” The trend accelÂerÂatÂed rapidÂly and has nevÂer ceased—children’s and young adult books now driÂve sales in pubÂlishÂing (with 80% of YA books bought by grown-ups for themÂselves).
GrenÂby notes that “the reaÂsons for this sudÂden rise of children’s litÂerÂaÂture” and its rapid expanÂsion into a boomÂing marÂket by the earÂly 1800s “have nevÂer been fulÂly explained.” We are free to specÂuÂlate about the social and pedÂaÂgogÂiÂcal winds that pushed this hisÂtorÂiÂcal change.
Or we might do so, at least, by examÂinÂing the children’s litÂerÂaÂture of the VicÂtoÂriÂan era, perÂhaps the most innoÂvÂaÂtive and diverse periÂod for children’s litÂerÂaÂture thus far by the stanÂdards of the time. And we can do so most thorÂoughÂly by surÂveyÂing the thouÂsands of mid- to late 19th cenÂtuÂry titles at the UniÂverÂsiÂty of Florida’s BaldÂwin Library of HisÂtorÂiÂcal Children’s LitÂerÂaÂture. Their digÂiÂtized colÂlecÂtioncurÂrentÂly holds over 10,000 books free to read online from covÂer to covÂer, allowÂing you to get a sense of what adults in Britain and the U.S. wantÂed chilÂdren to know and believe.
SevÂerÂal genÂres flourÂished at the time: reliÂgious instrucÂtion, natÂuÂralÂly, but also lanÂguage and spelling books, fairy tales, codes of conÂduct, and, espeÂcialÂly, advenÂture stories—pre-Hardy Boys and NanÂcy Drew examÂples of what we would call young adult ficÂtion, these pubÂlished prinÂciÂpalÂly for boys. AdvenÂture stoÂries offered a (very coloÂnialÂist) view of the wide world; in series like the Boston-pubÂlished Zig Zag and EngÂlish books like Afloat with NelÂson, both from the 1890s, fact minÂgled with ficÂtion, natÂurÂal hisÂtoÂry and sciÂence with batÂtle and travÂel accounts. But there is anothÂer disÂtincÂtive strain in the children’s litÂerÂaÂture of the time, one which to us—but not necÂesÂsarÂiÂly to the Victorians—would seem conÂtrary to the impeÂriÂalÂist young adult novÂel.
For most VicÂtoÂriÂan stuÂdents and readÂers, poetÂry was a daiÂly part of life, and it was a cenÂtral instrucÂtionÂal and stoÂryÂtelling form in children’s lit. The A.L.O.E.’s Bible PicÂture Book from 1871, above, presents “StoÂries from the Life of Our Lord in Verse,” writÂten “simÂply for the Lord’s lambs, rhymes more readÂiÂly than prose attractÂing the attenÂtion of chilÂdren, and fasÂtenÂing themÂselves on their memÂoÂries.” ChilÂdren and adults regÂuÂlarÂly memÂoÂrized poetÂry, after all. Yet after the exploÂsion in children’s pubÂlishÂing the forÂmer readÂers were often givÂen infeÂriÂor examÂples of it. The author of the Bible PicÂture Book admits as much, begÂging the indulÂgence of oldÂer readÂers in the prefÂace for “defects in my work,” givÂen that “the versÂes were made for the picÂtures, not the picÂtures for the versÂes.”
This is not an author, or perÂhaps a type of litÂerÂaÂture, one might susÂpect, that thinks highÂly of children’s aesÂthetÂic senÂsiÂbilÂiÂties. We find preÂciseÂly the oppoÂsite to be the case in the wonÂderÂful Elfin Rhymes from 1900, writÂten by the mysÂteÂriÂous “NorÂman” with “40 drawÂings by CarÂton Moorepark.” WhoÂevÂer “NorÂman” may be (or why his one-word name appears in quoÂtaÂtion marks), he gives his readÂers poems that might be misÂtakÂen at first glance for unpubÂlished ChristiÂna RosÂsetÂti versÂes; and Mr. Moorepark’s illusÂtraÂtions rival those of the finest book illusÂtraÂtors of the time, preÂsagÂing the high qualÂiÂty of CaldeÂcott Medal-winÂning books of latÂer decades. Elfin Rhymes seems like a rare oddÂiÂty, likeÂly pubÂlished in a small print run; the care and attenÂtion of its layÂout and design shows a very high opinÂion of its readÂers’ imagÂiÂnaÂtive capaÂbilÂiÂties.
This title is repÂreÂsenÂtaÂtive of an emergÂing genre of late VicÂtoÂriÂan children’s litÂerÂaÂture, which still tendÂed on the whole, as it does now, to fall into the trite and forÂmuÂlaÂic. Elfin Rhymes sits astride the fanÂtaÂsy boom at the turn of the cenÂtuÂry, herÂaldÂed by hugeÂly popÂuÂlar books like Frank L. Baum’s WizÂard of Oz series and J.M. Barrie’s Peter Pan. These, the HarÂry PotÂters of their day, made milÂlions of young peoÂple pasÂsionÂate readÂers of modÂern fairy tales, repÂreÂsentÂing a slide even furÂther away from the once quite narÂrow, “remorseÂlessÂly instrucÂtionÂal… or deeply pious” catÂeÂgories availÂable in earÂly writÂing for chilÂdren, as GrenÂby points out.
Where the boundÂaries for kids’ litÂerÂaÂture had once been narÂrowÂly fixed by Latin gramÂmar books and Pilgrim’s Progress, by the end of the 19th cenÂtuÂry, the influÂence of sciÂence ficÂtion like Jules Verne’s, and of popÂuÂlar superÂnatÂurÂal tales and poems, preÂpared the ground for comÂic books, YA dystopias, magiÂcian ficÂtion, and dozens of othÂer children’s litÂerÂaÂture genÂres we now take for grantÂed, or—in increasÂingÂly large numbers—we buy to read for ourÂselves. Enter the BaldÂwin Library of HisÂtorÂiÂcal Children’s LitÂerÂaÂture here, where you can browse sevÂerÂal catÂeÂgories, search for subÂjects, authors, titles, etc, see full-screen, zoomable images of book covÂers, downÂload XML verÂsions, and read all of the over 10,000+ books in the colÂlecÂtion with comÂfortÂable readÂer views.
Note: This is an updatÂed verÂsion of a post that origÂiÂnalÂly appeared on our site in 2016.
Jazz pianist and comÂposÂer Charles CorÂnell is not alone in his conÂtempt for the sort of dumbÂed down musiÂcal fare typÂiÂcal of children’s proÂgramÂming.
ChilÂdren have ears, and they’re peoÂple, and they can hear good music as well as anyÂbody else. So I startÂed right from the beginÂning playÂing for them as I would for any adults.
The show not only hooked many young viewÂers on jazz, it may have plantÂed a subÂlimÂiÂnal prefÂerÂence for live jazz.
As CorÂnell notes, above, host Fred Rogers, an accomÂplished pianist himÂself, wrote the program’s sigÂnaÂture tunes, includÂing its famous openÂing theme, but left it to CosÂta to improÂvise as he saw fit.
CorÂnell conÂsidÂers CosÂta their “crimÂiÂnalÂly unnoÂticed” equal, but observes that his quarÂter cenÂtuÂry of involveÂment on MisÂter Rogers NeighÂborÂhood means his music has likeÂly reached a far largÂer audiÂence.
CosÂta had carte blanche to nooÂdle as he saw fit under the onscreen proÂceedÂings, includÂing the many disÂcusÂsions of feelÂings. This musiÂcal underÂscorÂing helped Rogers demonÂstrate the wide range of human emoÂtions he sought to acknowlÂedge and norÂmalÂize withÂout conÂdeÂscendÂing to his preschool audiÂence.
The show’s webÂsite praisÂes CosÂta for simulÂtaÂneÂousÂly knowÂing “when to stop playÂing and let the silence take over, as there were times when Fred Rogers didn’t want anyÂthing, even music, to disÂtract the chilÂdren from conÂcenÂtratÂing on what he was sayÂing or showÂing.”
As CosÂta revealed:
I watch Fred, and there must be some kind of telepaÂthy that we’re not aware of, because someÂhow I get the mesÂsage to play or not to play. I’m sure that some of it has to do with workÂing togethÂer all these years, but a lot of it is unexÂplainÂable.
The show affordÂed him the opporÂtuÂniÂty to play with renowned neighÂborÂhood visÂiÂtors like trumÂpeter WynÂton Marsalis and croonÂer Tony BenÂnett, as well as the Land of Make Believe’s pupÂpets inhabÂiÂtants.
Which is not to say he nevÂer venÂtured outÂside of the neighÂborÂhood. Behold CosÂta and “HandyÂman” Joe Negri perÂformÂing on 67 Melody Lane, a show geared toward adult viewÂers.
Stream more of JohnÂny Costa’s music for MisÂter Rogers’ NeighÂborÂhood below.
One needn’t think too hard to come up with a list of celÂeÂbratÂed chilÂdren who seem someÂhow less excepÂtionÂal when their baby fat comes off and their perÂmaÂnent teeth come in.
When she was 11, conÂducÂtor Johannes WildÂner told the New York Times that “she is not good because she is young. She is good because she is extremeÂly talÂentÂed and has matured very earÂly.”
Her parÂents were the first to recÂogÂnize her extraÂorÂdiÂnary abilÂiÂties.
It’s nice when a musiÂcalÂly giftÂed child is born to parÂents who are not only willÂing to culÂtiÂvate that seed, they underÂstand that their 18 month old sings with perÂfect pitch…
She was nearÂing the age of reaÂson when the genÂerÂal pubÂlic became acquaintÂed with the pigÂtailed comÂposÂer who played piano and vioÂlin, loved improÂvisÂing and drew conÂstant, not uniÂverÂsalÂly welÂcome comÂparÂisons to Mozart.
At sevÂen, she penned a short opera inspired by “The SweepÂer of Dreams”, a short stoÂry by Neil Gaiman.
She folÂlowed that up with a full length operÂatÂic reimagÂinÂing of CinÂderelÂla (age 10) and rigÂorÂous trainÂing that built on her earÂly expoÂsure to ParÂtiÂmenÂti — keyÂboard improÂviÂsaÂtion.
Now 18, Alma conÂtinÂues to spellÂbind lisÂtenÂers with her seemÂingÂly magÂiÂcal abilÂiÂty to conÂjure a piano sonata using ranÂdomÂly selectÂed notes in less that a minute, just as she wowed 60 MinÂutes corÂreÂsponÂdent Scott PelÂley after he picked a B, an A, an E flat, and a G from a hat back in 2017, when she was 12.
She’s was unabashed about her love of melody in the 60 MinÂutes appearÂance, and has remained so, explainÂing the reaÂsonÂing behind her piece, Waltz of the Sirens, to a 2019 Carnegie Hall audiÂence by sayÂing that she’s always wantÂed to write beauÂtiÂful music:
Music that comes out of the heart and speaks directÂly to the heart, but some peoÂple have told me that nowaÂdays melodies and beauÂtiÂful harÂmonies are no longer acceptÂable in seriÂous clasÂsiÂcal music because in the 21st cenÂtuÂry, music must reflect the ugliÂness of the modÂern world. Well, in this waltz, instead of tryÂing to make my music artiÂfiÂcialÂly ugly in order to reflect the modÂern world, I went in exactÂly the oppoÂsite direcÂtion. I took some ugly sounds from the modÂern world, and I tried to turn them into someÂthing more beauÂtiÂful through music.
The full length opera The Emperor’s New Waltz is the soon to be 19-year-old’s first major adult achieveÂment in what promisÂes to be a long career.
TakÂing her inspiÂraÂtion from Hans ChrisÂtÂian AnderÂsen’s The Emperor’s New Clothes, she sought to creÂate a love stoÂry that would appeal to young pop fans (while also getÂting a few swipes in at the “tuneÂless world of atonÂal conÂtemÂpoÂrary music.”)
As she notÂed in an interÂview with Germany’s KlasÂsik Radio, it’s “defÂiÂniteÂly the beauÂtiÂful melodies that unite pop and clasÂsiÂcal music:”
I’m sure that if Mozart or SchuÂbert had heard the most beauÂtiÂful melodies of ABBA, or Queen or Elton John, then they would have been jealÂous and they would have said, “I wish I had thought of that!”
You can hang onto the source of Rudolph’s shame and evenÂtuÂal triÂumph — the glowÂing red nose that got him bounced from his playÂmates’ reinÂdeer games before savÂing ChristÂmas.
Lose all those othÂer now-iconÂic eleÂments — the Island of MisÂfit Toys, long-lashed love interÂest Clarice, the AbomÂinable Snow MonÂster of the North, Yukon CorÂnelius, Sam the SnowÂman, and HerÂmey the aspiÂrant denÂtist elf.
As origÂiÂnalÂly conÂceived, Rudolph (runÂner up names: RolÂlo, RodÂney, Roland, RodÂerÂick and RegiÂnald) wasn’t even a resÂiÂdent of the North Pole.
He lived with a bunch of othÂer reinÂdeer in an unreÂmarkÂable house someÂwhere along SanÂta’s delivÂery route.
SanÂta treatÂed Rudolph’s houseÂhold as if it were a human address, comÂing down the chimÂney with presents while the occuÂpants were asleep in their beds.
To get to Rudolph’s oriÂgin stoÂry we must travÂel back in time to JanÂuÂary 1939, when a MontÂgomery Ward departÂment head was already lookÂing for a nationÂwide holÂiÂday proÂmoÂtion to draw cusÂtomers to its stores durÂing the DecemÂber holÂiÂdays.
He setÂtled on a book to be proÂduced in house and givÂen away free of charge to any child accomÂpaÂnyÂing their parÂent to the store.
CopyÂwriter Robert L. May was charged with comÂing up with a holÂiÂday narÂraÂtive starÂring an aniÂmal simÂiÂlar to FerÂdiÂnand the Bull.
After givÂing the matÂter some thought, May tapped DenÂver Gillen, a pal in MontÂgomery Ward’s art departÂment, to draw his underÂdog hero, an appealÂing-lookÂing young deer with a red nose big enough to guide a sleigh through thick fog.
(That schnozz is not withÂout conÂtroÂverÂsy. PriÂor to Caitlin FlanaÂgan’s 2020 essay in the Atlantic chafÂing at the teleÂviÂsion speÂcial’s explicÂitÂly cruÂel depicÂtions of othÂerÂing the oddÂball, MontÂgomery Ward fretÂted that cusÂtomers would interÂpret a red nose as drunkÂenÂness. In May’s telling, SanÂta is so uncomÂfortÂable bringÂing up the true nature of the deer’s abnorÂmalÂiÂty, he preÂtends that Rudolph’s “wonÂderÂful foreÂhead” is the necÂesÂsary headÂlamp for his sleigh…)
On the strength of Gillen’s sketchÂes, May was givÂen the go-ahead to write the text.
His rhyming couÂplets weren’t exactÂly the stuff of great children’s litÂerÂaÂture. A samÂpling:
Twas the day before ChristÂmas, and all through the hills,
The reinÂdeer were playÂing, enjoyÂing the spills.
Of skatÂing and coastÂing, and climbÂing the wilÂlows,
And hopÂscotch and leapfrog, proÂtectÂed by pilÂlows.
___
And SanÂta was right (as he usuÂalÂly is)
The fog was as thick as a soda’s white fizz
—-
The room he came down in was blackÂer than ink
He went for a chair and then found it a sink!
No matÂter.
May’s employÂer wasn’t much conÂcerned with the artÂfulÂness of the tale. It was far more interÂestÂed in its potenÂtial as a marÂketÂing tool.
“We believe that an excluÂsive stoÂry like this aggresÂsiveÂly adverÂtised in our newsÂpaÂper ads and circulars…can bring every store an incalÂcuÂlaÂble amount of pubÂlicÂiÂty, and, far more imporÂtant, a tremenÂdous amount of ChristÂmas trafÂfic,” read the announceÂment that the Retail Sales DepartÂment sent to all MontÂgomery Ward retail store manÂagers on SepÂtemÂber 1, 1939.
Over 800 stores optÂed in, orderÂing 2,365,016 copies at 1½¢ per unit.
ProÂmoÂtionÂal posters toutÂed the 32-page freeÂbie as “the rolÂlickingest, rip-roaringest, riot-proÂvokingest, ChristÂmas give-away your town has ever seen!”
The adverÂtisÂing manÂagÂer of Iowa’s ClinÂton HerÂald forÂmalÂly apolÂoÂgized for the paper’s failÂure to covÂer the Rudolph pheÂnomÂeÂnon — its local MontÂgomery Ward branch had optÂed out of the proÂmoÂtion and there was a sense that any stoÂry it ran might indeed creÂate a riot on the sales floor.
His letÂter is just but one piece of Rudolph-relatÂed ephemera preÂserved in a 54-page scrapÂbook that is now part of the Robert Lewis May ColÂlecÂtion at DartÂmouth, May’s alma mater.
AnothÂer page boasts a letÂter from a boy named Robert RosenÂbaum, who wrote to thank MontÂgomery Ward for his copy:
I enjoyed the book very much. My sisÂter could not read it so I read it to her. The man that wrote it done betÂter than I could in all my born days, and that’s nine years.
The magÂic ingreÂdiÂent that transÂformed a marÂketÂing scheme into an everÂgreen if not uniÂverÂsalÂly beloved ChristÂmas traÂdiÂtion is a song …with an unexÂpectÂed side order of corÂpoÂrate genÂerosÂiÂty.
May’s wife died of canÂcer when he was workÂing on Rudolph, leavÂing him a sinÂgle parÂent with a pile of medÂical bills. After MontÂgomery Ward repeatÂed the Rudolph proÂmoÂtion in 1946, disÂtribÂutÂing an addiÂtionÂal 3,600,000 copies, its Board of DirecÂtors votÂed to ease his burÂden by grantÂiÂng him the copyÂright to his creÂation.
Once he held the reins to the “most famous reinÂdeer of all”, May enlistÂed his songÂwriter brothÂer-in-law, JohnÂny Marks, to adapt Rudolph’s stoÂry.
The simÂple lyrics, made famous by singing cowÂboy Gene Autry’s 1949 hit recordÂing, proÂvidÂed May with a revÂenue stream and Rankin/Bass with a skeleÂtal outÂline for its 1964 stop-aniÂmaÂtion speÂcial.
The very first lines were spoÂken by GorÂdon (Matt RobinÂson), a Black schoolÂteacher who’s showÂing a new kid around the neighÂborÂhood, introÂducÂing her to a couÂple of othÂer kids, along with Sesame Street adult mainÂstays Bob, Susan, and Mr. HoopÂer, and Big Bird, whose appearÂance had yet to find its final form:
SalÂly, you’ve nevÂer seen a street like Sesame Street. EveryÂthing hapÂpens here. You’re gonna love it.
The milieu would have felt familÂiar to chilÂdren growÂing up on New York City’s Upper West Side, or Harlem or the Bronx. While not every block was as well inteÂgratÂed as Sesame Street’s cheerÂful, delibÂerÂateÂly mulÂtiÂculÂturÂal, brownÂstone setÂting, any subÂway ride was an opporÂtuÂniÂty to rub shoulÂders with New YorkÂers of all races, classÂes and creeds.
Not six months latÂer, the all-White MisÂsisÂsipÂpi State ComÂmisÂsion for EduÂcaÂtionÂal TeleÂviÂsion votÂed 3 to 2 to remove Sesame Street from their state’s airÂwaves.
A disÂgrunÂtled pro-Sesame comÂmisÂsion memÂber leaked the reaÂson toThe New York Times:
Some of the memÂbers of the comÂmisÂsion were very much opposed to showÂing the series because it uses a highÂly inteÂgratÂed cast of chilÂdren.
The whistleÂblowÂer also intiÂmatÂed that those same memÂbers objectÂed to the fact that RobinÂson and LoretÂta Long, the actor porÂtrayÂing Susan, were Black.
They claimed MisÂsisÂsipÂpi was “not yet ready” for such a show, even though Sesame Street was an immeÂdiÂate hit. ProÂfesÂsionÂals in the fields of psyÂcholÂoÂgy, eduÂcaÂtion, and medÂiÂcine had conÂsultÂed on its conÂtent, helpÂing it secure a sigÂnifÂiÂcant amount of fedÂerÂal and priÂvate grants priÂor to filmÂing. The show had been laudÂed for its main misÂsion — preparÂing AmerÂiÂcan chilÂdren from low-income backÂgrounds for kinderÂgarten through liveÂly eduÂcaÂtionÂal proÂgramÂming with ample repÂreÂsenÂtaÂtion.
Kids growÂing up in shelÂtered, all-white enclaves stood to gain, too, by being welÂcomed into a teleÂviÂsion neighÂborÂhood where Black and white famÂiÂlies were shown hapÂpiÂly coexÂistÂing, treatÂing each othÂer with kindÂness, patience and respect. (Sonia ManÂzano and Emilio DelÂgaÂdo, who played Maria and Luis, joined the cast soon after.)
Even though AlabaÂma, Arkansas, FloriÂda, Louisiana and TenÂnessee also moved to pre-empt the innoÂvÂaÂtive hit show, the govÂernÂment appointees on the MisÂsisÂsipÂpi State ComÂmisÂsion for EduÂcaÂtionÂal TeleÂviÂsion who’d oustÂed Sesame Street found themÂselves outÂnumÂbered when JackÂson resÂiÂdents of all ages staged a protest in front of MisÂsisÂsipÂpi PubÂlic Broadcasting’s HQ.]
The Delta DemoÂcÂrat-TimespubÂlished an ediÂtoÂrÂiÂal piece arguÂing that “there is no state which more desÂperÂateÂly needs every eduÂcaÂtionÂal tool it can find than MisÂsisÂsipÂpi:”
There is no eduÂcaÂtionÂal show on the marÂket today betÂter preÂpared than Sesame Street to teach preschool chilÂdren what many canÂnot or do not learn in their homes….The needs are immense.
After 22 days, the ban was rolled back and Sesame Street was reinÂstatÂed.
That fall, the cast made a pitÂstop in JackÂson durÂing a 14-city nationÂal tour. Susan, GorÂdon, Bob, Mr. HoopÂer and Big Bird sang and joked with audiÂence memÂbers as part of an event co-sponÂsored by the very same comÂmisÂsion that had tried to blackÂball them, and left withÂout havÂing received a forÂmal apolÂoÂgy.
Sesame Street has stayed true to its proÂgresÂsive agenÂda throughÂout its fifty+ year hisÂtoÂry, a comÂmitÂment that seems more essenÂtial than ever in 2023.
Below, Elmo, a MupÂpet who rose through the ranks to become a Sesame Street star engages in an entry-levÂel conÂverÂsaÂtion about race with some newÂer charÂacÂters in an episode from two years ago.
The Sesame WorkÂshop recÂomÂmends it for viewÂers aged 1 to 4, though it seems our counÂtry doesn’t lack for adult citÂiÂzens who could do with a refreshÂer on the subÂject…
The BarÂbiemovie has capÂtured the popÂuÂlar imagÂiÂnaÂtion in a big way.
The New York Times can’t get enough of the recentÂly opened sumÂmer blockÂbuster. Between reviews, fashÂion round ups, interÂviews, box office reports and op eds, it has pubÂlished over two dozen pieces tied to this masÂsive culÂturÂal moment.
Even those who don’t feel a burnÂing need to catch BarÂbie at the mulÂtiÂplex are likeÂly aware of the BarÂbenÂheimer pheÂnom.
The 1959 ad, above, that introÂduced the glamÂorous “teen age fashÂion doll” to the pubÂlic clears up the misÂperÂcepÂtion that pink has always been Barbie’s de facÂto colÂor. It’s black-and-white, but so is the diagÂoÂnal striped swimÂsuit the film’s star, MarÂgot RobÂbie modÂels in the film’s openÂer, a tongue in cheek homage to 2001: A Space Odyssey.
(Astute observers may note the simÂiÂlarÂiÂties between some of the sophisÂtiÂcatÂed ensemÂbles origÂiÂnal flaÂvor BarÂbie sports here and the outÂfits RobÂbie donned for the pink carÂpet priÂor to the Screen Actors Guild strike.)
In the batÂtle between pink and hisÂtorÂiÂcal record, pink is desÂtined to come out on top in the BarÂbie movie. DirecÂtor GreÂta GerÂwig and her design team punch up Barbie’s earÂly 80’s WestÂern look with a wide pink brush, lowÂerÂing the neckÂline but keepÂing the wink.
The doll came with a workÂing autoÂgraph stamp RobÂbie may conÂsidÂer adoptÂing, should BarÂbie mania conÂtinÂue on into fall.
One of the most thrilling design eleÂments of the movie is the human scale DreamÂhousÂes occuÂpied by BarÂbie and her friends, the majorÂiÂty of whom are also named BarÂbie.
The DreamÂhouse has takÂen many archiÂtecÂturÂal forms over the years — townÂhouse, cotÂtage, manÂsion — but it always comes withÂout a fourth wall.
AnothÂer cinÂeÂmatÂic treat is the roll call of vehiÂcles BarÂbie comÂmanÂdeers on her jourÂney to the real world with her hapÂless boyfriend, Ken.
Some of the film’s deepÂer cuts are jokes at the expense of misÂguidÂed releasÂes, BarÂbie sideÂkicks so ill-conÂceived that they were quickÂly disÂconÂtinÂued, although 1993’s EarÂring MagÂic Ken became a bestÂseller, thanks to his popÂuÂlarÂiÂty in the gay comÂmuÂniÂty.
Look for Barbie’s pregÂnant pal, Midge, her yelÂlow Labrador retrievÂer, TanÂner (whose scoopable excreÂment was quickÂly deemed a chokÂing hazÂard) and GrowÂing up SkipÂper, the litÂtle sisÂter who goes through puberÂty with a twist of the arm … “which is someÂthing you can’t do,” the commercial’s narÂraÂtor taunts in a rare reverÂsal of the “girls can be anyÂthing” ethos MatÂtel insists is part of the brand.
Of course, one can only cram so many knowÂingÂly-placed prodÂucts into one feaÂture-length film.
Are those of you who grew up with BarÂbie hurtÂing from any glarÂing omisÂsions? (AskÂing as a child of the MalÂibu BarÂbie era…)
At first blush, SchoolÂhouse Rock!, the interÂstiÂtial aniÂmaÂtions airÂing between ABC’s SatÂurÂday mornÂing carÂtoon line up from 1973 to 1984, may seem like a catchy, eduÂcaÂtionÂal equivÂaÂlent of sneakÂing spinach into panÂcakes (and a major Gen X touchÂstone.)
Not so fast! It’s also jazz, baby!
Jazz pianist Bob DorÂough recalled how an ad exec at a New York ad agency pitched the idea:
My litÂtle boys can’t memÂoÂrize their times tables, but they sing along with Jimi HenÂdrix and the Rolling Stones, so why don’t you put it to rock music and we’ll call it MulÂtiÂpliÂcaÂtion Rock?
DorÂough, whose comÂpoÂsiÂtionÂal prefÂerÂences ran to “extravÂaÂgant love songs” and vocal chalÂlengÂing numÂbers, realÂized that his first order of busiÂness would be to write a good song:
I hit upon the idea, let’s pick a numÂber. Three! That’s a good numÂber. And I sat down at the piano and startÂed foolÂing around. It took me 2 weeks.
In his hands, three became a magÂic numÂber, an ear worm to bring even the most relucÂtant eleÂmenÂtary mathÂeÂmatiÂcians up to speed in no time.
EvenÂtuÂalÂly, DorÂough was able to bring many of his jazz world friends into the fold, includÂing, most famousÂly, trumÂpeter and Merv GrifÂfin ShowsideÂkick Jack ShelÂdon, whose one-of-a-kind delivÂery is the hands down highÂlight of “ConÂjuncÂtion JuncÂtion.”
(Many SchoolÂhouse Rock! fans, viewÂing the excerpt of the duo’s mid-90’s live appearÂance on the KTLA MornÂing Show, above, proÂfessed disÂbeÂlief that Sheldon’s soul was of the blue-eyed variÂety, even though the aniÂmatÂed engiÂneer who serves as his avatar in that three minute episode is white.)
When we made ConÂjuncÂtion JuncÂtion, it was me and TedÂdy Edwards and Nick Ceroli and Leroy VineÂgar and Bob DorÂough played the piano. That’s a jazz band…it was realÂly nothÂing to do with rock. It was always jazz, but we said rock and roll, so everyÂbody loved it for rock and roll.
AnothÂer memÂoÂrable colÂlabÂoÂraÂtion between ShelÂdon and DorÂough is the much parÂoÂdied “I’m Just a Bill,” in which a weary scroll loiÂters on the steps of the CapÂiÂtal BuildÂing, explainÂing to a wide eyed youngÂster (voiced by his son) the process by which a bill becomes law.
(It) made me want to gamÂble and win.I got hooked when I heard Bob’s jazzy rasp of a voice breakÂing the rules even as he explained them… this guy had a wild mind, which I figÂured out latÂer equaled creÂativÂiÂty.
She also paid the perÂpetÂuÂalÂly sunÂny DorÂough, whom she first encounÂtered “glow(ing) with health and good cheer, spreadÂing sunÂshine wherÂevÂer he went on the camÂpus of East StroudsÂburg UniÂverÂsiÂty, the supreme comÂpliÂment:
Lou Reed’s idea of hell would be to sit in heavÂen with Bob DorÂough.
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