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The Muppets

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Chris Richardson

on 23 May 2011

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Transcript of The Muppets

MUPPETS Sesame Street was
origanlly an experiment
to see if TV could teach
kids. The show was first, and was aired in 1969. Joan Ganz Cooney is the
creator Television producer and executive. Born Joan Ganz on November 30, 1929, in Phoenix, Arizona. A pioneer in children’s television programming, she began her career in media as a newspaper reporter. In the mid-1950s, she moved to New York City and worked as a publicist for several years. She got her first opportunity to create television programming as a documentary producer for public television in 1962. Cooney won an Emmy Award for a show entitled Poverty, Anti-Poverty, and the Poor.

While she enjoyed her work, Cooney wanted to be able to make more of a difference in people’s lives. With a degree in education from the University of Arizona, she began to think about television as a teaching medium. Cooney conducted a formal study on the subject. She used her findings to help convince others of television’s potential for children. To this end, she founded the Children’s Television Workshop (CTW) in 1968.
Cooney saw the CTW’s first television series, Sesame Street, as a learning opportunity for all preschool children. Taking inspiration from the style of commercial television, the show has a quick pace, showing a variety of educational segments in each episode. Along with its multiracial cast of actors, the series features a number of puppet characters, known as the Muppets, which were created by the late Jim Henson. Sesame Street began in November 1969 and has remained on the air for nearly forty years. During its run, Cooney and the CTW have won numerous awards for the series, including more than 60 Emmy Awards. HISTORY OF
SESAME STREET When Sesame Street was first
allowed to be aired on TV, Joan Cooney
needed a crew. A few of the crew members
were Kermit Love, Jim Henson, Jon Stone,
Frank Oz, Caroll Spinney, Jerry Nelson, etc. Where did they
get the idea for
a street setting? A: Director Jon
Stone said "It was when I saw
a commercial for the Urban
Coalition, he recalls,"It was shot on
location in Harlem out one the sidewalk,
on the front stoop of a brownstone,
and as soon as I saw it, I knew exacly
here we ought to be." Director Jon Stone The biggest juggernaut in children's-television history sprang forth from mundane origins. At a Manhattan dinner party in 1966, a Carnegie Foundation executive named Lloyd Morrissett mentioned that his young daughter was so enthralled by television that she would park herself in front of the family's set to gaze at early-morning test patterns. That story prompted a public-television producer named Joan Cooney to investigate how television could be used to package education as entertainment: "What if it went down more like ice cream than spinach?" The ensuing creation — in which kids learned everything from empathy to arithmetic under the tutelage of colorful creatures like an 8-ft.-tall canary and a misanthropic garbage-can dweller — was greeted with acclaim by parents, teachers and even President Richard Nixon. Four decades later, it's a cultural touchstone that remains required viewing for millions of youngsters in 120 countries. Shortly after the CTW was created in 1968, Joan Ganz Cooney was named its first executive director. She was one of the first female executives in American television; her appointment was called "one of the most important television developments of the decade". She assembled a team of producers, all who had previously worked on Captain Kangaroo. Jon Stone was responsible for writing, casting, and format; Dave Connell took over animation; and Sam Gibbon served as the show's chief liaison between the production staff and the research team. Cameraman Frankie Biondo started working on Sesame Street from its first episode. Jim Henson and the Muppets' involvement in Sesame Street began when he and Cooney met at one of the curriculum planning seminars in Boston. Author Christopher Finch reported that Stone, who had worked with Henson previously, felt that if they could not bring him on board, they should "make do without puppets". Henson was initially reluctant, but he agreed to join Sesame Street for social goals. He also agreed to waive his performance fee for full ownership of the Sesame Street Muppets and to split any revenue they generated with the CTW. As Morrow stated, Henson's puppets were a crucial part of the show's popularity and it brought Henson national attention. Davis reported that Henson was able to take "arcane academic goals" and translate them to "effective and pleasurable viewing". In early research, the Muppet segments of the show scored high, and more Muppets were added during the first few seasons. Morrow reported that the Muppets were effective teaching tools because children easily recognized them, they were stereotypical and predictable, and they appealed to adults and older siblings Sesame Street is best known for the creative geniuses it attracted, people like Jim Henson and Joe Raposo and Frank Oz, who intuitively grasped what it takes to get through to children. They were television's answer to Beatrix Potter or L. Frank Baum or Dr. Seuss.

Author Malcolm Gladwell, The Tipping Point

Although the producers decided against depending upon a single host for Sesame Street and to cast a group of ethnically diverse actors, they realized that a children's television program needed to have, as Lesser put it, "a variety of distinctive and reliable personalities", both human and Muppet. Jon Stone, whose goal was to cast white actors in the minority, was responsible for hiring the show's first cast. He did not audition actors until spring 1969, a few weeks before the five test shows were due to be filmed. Stone videotaped the auditions, and Ed Palmer took them out into the field to test children's reactions. The actors who received the "most enthusiastic thumbs up" were cast For example, Loretta Long was chosen to play Susan when the children who saw her audition stood up and sang along with her rendition of "I'm a Little Teapot". As Stone said, casting was the only aspect of the show that was "just completely haphazard".] Most of the cast and crew found jobs on Sesame Street through personal relationships with Stone and the other producers. According to the CTW's research, children preferred watching and listening to other children more than puppets and adults, so they included children in many scenes. Dave Connell insisted that no child actors were used, so these children were nonprofessionals, unscripted, and spontaneous. Many of their reactions were unpredictable and difficult to control, but the adult cast learned to handle the children cast's spontaneity with their own spontaneity, even when it resulted in departure from the planned script or from the planned lesson. CTW research also showed that the child actors' hesitations and on-air mistakes served as models for viewers. According to Morrow, this resulted in the show having a "fresh quality", especially in its early years.] Children were also used in the voice-over commentaries of most of live-actions films the CTW produced. Cast and Crew Jon Stone orginally worked
for Captain Kangaroo, that's
why Joan Cooney picked him
for the director. He had already
had been experienced with
shows meant for younger kids. Original Cast and Characters Muppet Builders Muppet Builder Birth of Big Bird and OthersEditDuring the early 1960s, Love first met Jim Henson through Don Sahlin, who urged Love to meet with Henson. The three first collaborated on Delbert the La Choy Dragon. Love's theatrical background had given him particular skill at handling full-body puppets and tailoring them to allow freedom for the performer's movements. From this, Love went on to design and build Big Bird (though Sahlin had carved the first head), and later, Mr. Snuffleupagus. For the special The Great Santa Claus Switch, Love contributed to the giant Thig.

Though he also worked on The Muppet Show and The Muppet Movie, Sesame Street was Love's domain, along with Caroly Wilcox, as one of the key supervisors. He even puppeteered on the special Julie on Sesame Street. For the feature film Follow That Bird, he served as special Muppet consultant, as well as appearing in many background scenes as Willy. Love was also involved in designing many of the Sesame Street puppets for the early international productions. In his memoir The Wit and Wisdom of Big Bird, Caroll Spinney speaks affectionately of Love and his importance to the show, though noting an occasional cantankerous side.

Beyond Sesame StreetEditIn addition to his work on Sesame Street, Love remained busy as freelancer, creating and building puppets for the non-Henson puppet series The Great Space Coaster. On that show, he encountered a young Kevin Clash, and urged him to apply for Sesame Street. Other achievements included building the Snuggle Bear puppet for the popular Snuggle fabric softener commercials.

Going into semi-retirement in the 1990s, Love still remained active, building many full-body puppets for the Joffrey Ballet's Nutcracker performances (designing the mice and the 16-foot-tall Mother Ginger puppet, among others), an association that continued as recently as 2004. In 2001, Love designed Aza, the bird-like mascot for the American Zoo and Aquarium Association. Kermit Love Muppet Builder That same year, Joan Ganz Cooney and the newly-formed Children's Television Workshop approached Henson about creating and performing puppets on a new show aimed at pre-schoolers. The show would become Sesame Street, and it introduced viewers to such memorable characters as Big Bird, Oscar the Grouch, Bert and Ernie, Count von Count, Cookie Monster, Grover, and eventually Elmo as well.

Jim Henson was initially reluctant to use his characters on an educational kids' series, for fear of being typecast as a children's entertainer.[6] However, Joan Ganz Cooney, once remarked that while the show's creative team had a collective brilliance, Henson was the only "individual genius.": "He was our era's Charlie Chaplin, Mae West, W.C. Fields and Marx Brothers," Cooney said, "and indeed he drew from all of them to create a new art form that influenced popular culture around the world."[7]

On Sesame Street, Jim Henson performed Kermit the Frog, the only major established Muppet to appear regularly on the new series (although Rowlf made one cameo). He also performed such new characters as Ernie and game show host Guy Smiley. Continuing his penchant for animation and live film-making, Henson wrote and directed such inserts as the Number Song Series that always ended with a baker falling down the stairs (Henson dubbed the voice, even though a different actor portrayed the baker) and several animated shorts, including "King of 8", "Queen of 6", and "Eleven Cheer." He also built the dollhouse seen in the Dollhouse film. According to season two research studies found in CTW Archives files, "All of the Henson films are extremely effective in getting the children to watch and to participate. The involvement of children viewing these films is remarkable."

Although increasingly individuals like Don Sahlin, Kermit Love, and other Muppet Workshop employees gained greater responsibility for character development, Henson still supplied the initial sketches for many of the key characters, including Ernie, Bert, and The Amazing Mumford. As evidenced in Jim Henson's Designs and Doodles, while Love and Sahlin built Big Bird, Henson devised the initial concept of a full bodied character, and supplied sketches showing how he would be performed.

By the late-1970s/ early 1980s, he became more involved with other projects, and therefore mainly just performed his characters in inserts rather than in the main street plots. However, he was still involved in related productions, performing his characters in the first Sesame Street movie, Follow That Bird, performing his characters' voices in various Sesame Street Live shows, and also performing in Christmas Eve on Sesame Street, Big Bird in China, Don't Eat the Pictures: Sesame Street at the Metropolitan Museum of Art, The Sesame Street Special, and Sesame Street: 20 and Still Counting. In the last production mentioned, Henson also appeared as himself in two scenes. He was also interviewed on The Sesame Street Experiment and Sing! Sesame Street Remembers Joe Raposo and His Music.

Jim Henson's last segments for the show were taped on November 21, 1989. Henson's later performances include a Sesame Street News Flash segment in which Kermit interviews a bird whose parents live in different trees, Kermit's song "I Wonder 'Bout the World Above Up There", and Ernie's song "Don't Throw That Trash on the It all ends in one of two ways: either someone gets eaten or something blows up."
— Jim Henson Jim Henson Ed Christie is a puppet designer and builder who has worked with Sesame Street and Henson Associates since an internship with Henson in 1978. Christie graduated from UMass/Amherst with a BFA/Education in 1979.

The first Muppet Christie created was Butch, originally designed as a sabertooth tiger used in the "Toothbrush" skit of the Caveman Days series on Sesame Street. [1]

After years of learning Muppet design techniques, and building many of the classic Muppet characters, he was promoted to Muppet Supervisor in charge of Sesame Street (1991-1996). He was later promoted to Vice President/NY Muppet Workshop Supervisor (1997-2004) as well as Art Director for Henson on Sesame Street. He also contributed his skills to Henson Licensing and Publishing.

In 2004, Christie left Henson and was contracted by Sesame Workshop where he is currently designing characters for the domestic version of Sesame Street and Sesame Street International. He has designed the Muppet characters for Sesame Northern Ireland, Indonesia, India, Bangladesh, Russia, Israel, South Africa, Egypt, China, Poland, France, Mexico, Canada, Japan and others. Christie is featured in the 2006 documentary The World According to Sesame Street.

He has won 8 Emmy Awards for his work on Sesame Street and numerous nominations for other Henson productions. Christie's work was also seen in the Broadway productions of Doonesbury, Peter Pan, Sugar Babies and Encores! Carnival. He also designed, built and performed in the 2007 production of Carnival! at the Kennedy Center in Washington, DC. December 5-January 25, the Provincetown Art Association and Museum displayed the exhibit Rods and Monsters: the Puppets of Ed Christie. Muppet Designer Ed Christie Muppet Builder Rollie Krewson Rollie Krewson (sometimes credited as Rollin Krewson) interned with the Muppets in the mid 70's. She has contributed to almost every Henson production since her arrival and to this day carries her skills through Sesame Street. She has been awarded 7 Emmy Awards for her contributions to Sesame Street and had been nominated many times for her work on other Henson productions. Although she now works primarily as a designer/builder, she began as a performer, doing small bits on The Muppet Show and other projects How it effects kids Parents are always
asking how do they
teach with songs, how
do the kids remember
the words. A:The songs teach kids
by helping them remember
things, such as the Abc's,
How to tie your shoe, counting,
etc. Q:But how do
the kids remember
the song in first
place? A: If, like me, you grew up in the U.S. in the 1970s and 80s, you probably remember the game show Name That Tune, where contestants heard brief snippets from popular songs and had to name them as quickly as possible. Even though I didn't know most of the music, which was primarily American Standards from the 30s, 40s, and 50s, I still found the show fascinating. My favorite part of the game was when the two contestants engaged in a bidding war, where a clue was given and the contestants bet on how few notes it would take them to recall the title of the song. Sometimes a contestant could actually name a song after hearing just one note! (Of course, this probably meant they could guess the song based only on the clue, but you couldn't beat the drama of a contestant boasting "I can name that tune in one note.") The show demonstrated how powerful a melody can be as a memory device. The songs were all played by an orchestra or pianist, without the lyrics, and contestants (and viewers at home) could often guess the name of the song within only one or two seconds. But is a melody really the best way for us to remember a song? Maybe we could do it even better, if only there was a TV show called Name Those Lyrics.

While we've discussed a study demonstrating that both music and lyrics were about equal, that study was concerned primarily with reaction time. In Name That Tune, once a contestant made their bid on a melody, they had plenty of time to think about what the title of the song was.

A team led by Zehra Peyrnircioğlu had 180 psychology students listen to partial melodies or read lyrics or titles of moderately popular songs, and then asked them to use that information to recall something else about song. So if you heard the melody, you might be asked to hum back more of the melody, recall the lyrics, or the title. If you read the lyrics, you might be asked to hum the melody, recall more lyrics, or the title. If you saw the title, you could only be asked for lyrics or melody. To make the task difficult, lyrics and melodies came from the verse of the song, not the more familiar chorus. Here are the results:

When listeners heard melody snippets or read the title, they remembered the other elements of the song in the 10-15 percent range. But when they read lyrics, they could hum back the melody or recall the title of the song significantly better. They also made significantly fewer errors. Name Those Lyrics would be a much easier game show than Name That Tune, even though the researchers were careful to only present lyrics that did not include words from the song's title.

Oddly, reading lyrics didn't improve respondents' accuracy in generating additional lyrics -- and even hearing music and lyrics together didn't help respondents predict the next part of the melody or lyrics better than music and lyrics alone.

Interestingly, respondents didn't believe the lyrics helped them more than the other elements of songs. When respondents couldn't give an answer, the researchers asked them to rate how well they thought they knew the answer -- if they were given a clue, how likely would they be to produce the correct response? Then later they were given a multiple choice test instead of being asked to produce an answer with no help. Respondents systematically underestimated their ability to produce an answer when prompted by lyrics.

We seem to believe the melody and title of a song will help us recall it better than the lyrics, when in fact the opposite is true.

Peynircioglu, Z., Rabinovitz, B., & Thompson, J. (2007). Memory and metamemory for songs: the relative effectiveness of titles, lyrics, and melodies as cues for each other Kids are always seen
on the street, but
how do they react with the muppets around them `Joey Moazzarino, muppeter of Murray Monster, recalls one day
a girl who surprised th directors and
coordinators. " They said, I don't think we're going to get anything. She's four, she's too young.'" Joey recalls. "We talked for twenty five minutes and got so much material. I could have done a whole series with this girl. She totally believed the Muppet. Some kids get that it's a guy underneath, but that kid was just right there." What Joey is saying
is that some kids get that
it's just a puppet, but then
there are some kids who just
connect with the puppets. They
believe the the Muppets are real,
so the Muppets are good at helping
kids learn because kids can just connect
with them.The Muppets grab the kids
attention. Sesame Street also helps
tho disadvantaged kids, kids who
are poor and who live in the bad
part of town. It shows them behavior
skills such as sharing,and it provides
education if they don't get a good
education. Writer/puppeteer/director Sesame Street has four main
curriculum and they are: Goal 1:Given a set of symbols, either all
letters or al numbers,the child knows whether
those symbols are used in reading or counting Goal 2:Given 4 objects, 3
of which have an attribute
in common, the child can
sort out the in appropriate
object on the basis of: Size,
Form, Function, Class That's where the song
One of These Things is Not
Like the Other Goal 3:The child can label the physical world around him: Land, Sky, and Water Goal 4:The child can identify
himself and other familiar
individuals....He comes to see situations from mor than one
point of view How Muppets Work Sesame Street has many
different kind of Muppets, rod, ful body, full body rod, etc. But how do they work? How Big Bird works Big Bird is an 8-foot, 2-inch yellow bird who lives on Sesame Street. Since Sesame Street premiered in 1969, Big Bird has entertained millions of pre-school children and their parents with his wide-eyed wondering at the world. Big Bird is also a bird who makes friends easily.

The world-famous bird has been a central character on Sesame Street for the program's run, premiering in the first episode. The big yellow bird can roller skate, ice skate, dance, sing, write poetry, draw, and even ride a unicycle — pretty talented for a character described in the TV show's writer's guide as a 6-year-old. But despite this wide array of talents, he's prone to frequent misunderstandings, like thinking that the alphabet is one long word.

Big Bird lives in a large nest behind 123 Sesame Street and next to Oscar's trash can, and he has a teddy bear named Radar.

Big Bird helps children feel all right about not knowing everything because he himself does not know everything, and encourages them to inquire: a common Big Bird phrase in recent years has been "Asking questions is a good way of finding things out!" He also teaches other life, alphabet, and numerical lessons: "I guess it's better to be who you are. Turns out people like you best that way, anyway." [1]

For many years his best friend Mr. Snuffleupagus (who Big Bird calls Snuffy) was deemed as imaginary by the adults on Sesame Street. Every time Snuffy would visit, he would coincidentally leave just before the adults arrived. Despite not being believed by the adults, Big Bird continued to assert that Snuffy was real. In the early 1980s, a string of high-profile child sexual abuse cases caused Sesame Workshop (then Children's Television Workshop) to eliminate this running gag, fearing that children would take to heart the message that, if adults don't believe something out of the ordinary even when they are telling the truth, they'd be just as well off to remain silent. Big Bird took center stage on Sesame Street in the early 1980s, when the show dealt with the death of storekeeper Mr. Hooper (necessitated by the death of Will Lee, the actor who played the role). Big Bird got confused when he tried to go into Hooper's Store to give Mr. Hooper his drawing Big Bird made of and for him. The adults, including Maria, David, Bob, Susan, Gordon, and Luis tell Big Bird that Mr. Hooper is not coming back because he's dead and when people die, they don't come back. ("Ever?" "No, never") Big Bird's realization that Mr. Hooper wasn't just gone temporarily, and Big Bird's acceptance of Mr. Hooper's death, have been hailed as a milestone in children's programming.

Big Bird starred on the big screen in the 1985 film Follow That Bird, in which he is sent by Miss Finch, a bird social worker, to live with a foster family of Dodos. He soon runs away from his new home to get back to Sesame Street and he is kidnapped and dyed baby blue by two ratty circus-owners. He also had a role in the feature film The Adventures of Elmo in Grouchland and starred in the feature-length specials Big Bird in China and Big Bird in Japan.

Big Bird also appeared in cameo roles in the films The Muppet Movie and The Muppets Take Manhattan and the television special A Muppet Family Christmas, and as a guest on The Muppet Show episode 318, plus a variety of outside TV appearances. An early design for Big Bird by Jim Henson, on Children's Television Workshop stationery. Early Sketch of how he works Mr. Snuffleupagus is a full-bodied Muppet character who lives with his family in a cave just off of Sesame Street. Snuffleupagus is his species as well as his last name.

His full name is Aloysius Snuffleupagus, although his friends call him Snuffy. He is eternally 4-years-old,[1] and celebrates his birthday on August 19. Snuffy's best friend is Big Bird, whom he affectionately calls simply "Bird." His favorite foods are cabbage and spaghetti. In the fifth season premiere, he revealed that he also drinks sasafrass tea. He has a little sister named Alice and a friend named Rosalyn.

Mr. Snuffleupagus first appeared on Sesame Street in episode 0276, the third season premiere. When he first appeared, many of the adults assumed that he was Big Bird's imaginary friend, due to a series of coincidences and near-miss encounters that continually kept Snuffleupaguses and humans apart. Big Bird would often try to find ways for Snuffy to meet the adults, but something would always cause Snuffy to leave before the humans could see him. Sometimes, all it would take for the adults to see Mr. Snuffleupagus would be to turn their heads, yet they usually wouldn't do so until Snuffy had already gone.

Various kids could see Mr. Snuffleupagus, some Muppets saw him, and even a few celebrities (including Judy Collins, in a fantasy sequence) saw him, but the major human characters never believed his existence until episode 2096 in 1985. Mr. Snuffleupagus became real to the entire cast for a few reasons. One was because the writers were running out of new ways to have Snuffy just barely miss meeting them. Another factor was increased concerns that the adults' refusal to believe Big Bird's claims of his friend's existence would discourage children from sharing important things with their parents. [2]

It takes two people to perform Mr. Snuffleupagus. The person who performs the front also performs the voice. Jerry Nelson was the first to play the character. Most sources (including Sesame Street Unpaved and Sesame Street: A Celebration - 40 Years of Life on the Street) state that back problems caused by the physical stress of the performance forced him to bow out, but in a 2009 interview Jerry Nelson gave a different explanation for giving up the role: "I was not loathed to give that character up. But the reasons for giving it up were because at that time we were doing The Muppet Show and he was a real part of the show, and they needed his presence. So they asked if I’d mind giving it up."[3] Michael Earl Davis took over for three seasons (1978–1980; see Talk:Michael Earl), before Marty Robinson became the permanent voice and face of Snuffy. The back of Mr. Snuffleupagus has been performed by Richard Hunt, Brian Muehl, Frank Kane, and Peter Friedman, but since 1979, the regular back-end has been Bryant Young.

In the early years of Snuffy's Sesame Street appearances, his entrances were scored by a low-range brass musical cue. A modified version of this theme appeared on the various Sesame Street albums. Also, during his first appearances in 1971, Snuffy spoke in a sad-sounding tone of voice. Later, the sad tone was dropped and Snuffy began to speak in a more neutral tone of voice that could sometimes be cheerful. In his debut season, he also had some strange topics on the show, such as being afraid of fruit and wanting to move in with Big Bird. Also, sometimes he would answer questions with statements that did not make sense. Such as in the closing of his premiere episode Big Bird asks "Where did you go?" and he replies "Well I suppose so." Original Snuffy Grover describes himself on Sesame Street as a "cute, furry little monster". Grover rarely uses contractions when speaking, giving him a distinctive vocal pattern, in comparison to many other television characters. His character is multi-talented, taking on many different roles and professions throughout the series' run.

Grover appears in several recurring Sesame Street segments, including Waiter Grover; Super Grover; and Global Grover. He also frequently appears in Monsterpiece Theater and the Spanish Word of the Day segments. He was one of the hosts of Play With Me Sesame, with his main roles being in interactive music sequences, as the self-proclaimed "moving and grooving monster".

Grover's 1971 storybook The Monster at the End of This Book was a best-seller for the Little Golden Books series, and remains a popular children's book today. Several sequels to the title have followed, and Grover has since been featured in dozens of books. The character who would eventually become Grover was first seen on The Ed Sullivan Show in a Christmas Eve appearance in 1967. He appeared as Gleep, a monster in Santa's workshop. He later made a cameo appearance in The Muppets On Puppets in 1968 with the Rock and Roll Monster. In 1969, clad in a necktie, he appeared in the Sesame Street Pitch Reel in the board room sequences.

During the first season of Sesame Street, this darker pre-cursor to Grover made several appearances (like many of the puppets used on Ed Sullivan), and by the end of the season he was re-named Grover. By Season 2, his fur became blue, and his voice and personality began to change to those we know today. The green-furred puppet would be used again as Grover's mother in a sketch in which Grover is afraid of the dark, and has trouble sleeping. Grover Early Version of Grover Ernie has been one of the stars of Sesame Street since its first episode in 1969. Ernie and Bert form a comic duo that is one of the program's centerpieces, with Ernie acting the role of the naïve trouble-maker and Bert the world-weary foil.

Ernie is well known for his fondness for baths with his Rubber Duckie, and for trying to learn to play the saxophone although he wouldn't "put down the duckie." Ernie is also known for keeping Bert awake at night, for reasons such as wanting to play the drums, wanting to count something (like sheep), to observe something like a blackout, or even because he is waiting for his upstairs neighbor to drop his shoes.

He has a distinctive, chuckling laugh (a trait he shares with his baby cousin Ernestine).

Many Ernie and Bert sketches involve Ernie wanting to play a game with Bert, who would much rather do something else (like read). Ernie keeps annoying Bert with the game until Bert joins in -- and usually, by the time Bert starts enjoying the game, Ernie is tired of playing the game and wants to do something else. Other sketches have involved them sharing some food by dividing it equally, only for one of them to have a bit more than the other, leading Ernie to make it even by eating the extra piece. Ernie has also frequently made appearances without Bert. He has regularly appeared in skits with Cookie Monster, Sherlock Hemlock and Lefty the Salesman.

From season 33 until season 36, he and Big Bird starred in a daily segment called "Journey to Ernie". Starting in season 39, Ernie and Bert have appeared in animated form in the Bert and Ernie's Great Adventures segments Sesame Street Across
the World It's amazing to think that
Sesame Street was just a
a test originally, but now
it has expanded, showing in
different states, and even
different continets. Plaza Sesamo was first
broadcast in Mexico in
1972. "Yo creci con Plaza
Sesamo!" Vice President of Columbia Francisco Calderon told produce Ginger Brown when they met unexpectedly on a flight. In english that means "I grew up with Plaza Sesamo!" Rua Sésamo is the Portuguese co-production of Sesame Street.

It aired for only a short period of time, from 1989 until 1994. It was broadcast by RTP. Series 2 debuted on December, 1990 with 125 episodes.

Poupas was a full-body character who was nearly identical to Big Bird, except for his orange feathers, his blue and purple feathers on his tail and head and black-and-pink eyelids. Ferrão was a brown Grouch who lived in crates on Rua Sésamo. Tita was a female cat performed by Filipa Melo. She joined the series the very last year.

Tita also appeared on the US Sesame Street special Sesame Street Stays Up Late!. Sesame Tree After returning from training
the Sesame Tree team of puppeteers
in Northern Ireland, Marty Robinson
raved: "These guys are better their first day of taping than I was on my tenth." Play With me Sesame In March 2009, TV2/Denmark signed a
contract with Sesame Workshop for a
Sesame programming block containing elements such as Play With Me Sesame and locally produced Elmo Segments. Takalani Sesame AIDS became a focus on Takalani Sesame with the creation of HIV-positive Muppet Kami in 2003. UNICEF next appointed Kami its global "Champion for Children." Now the South African show is being adapted for similar needs elsewhere in Africa-- in Tanzania, Kilimani will reach aproximately five million children at risk for malaria, teaching basic health and hygiene. http://muppet.wikia.com/wiki/Kermit_Love
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