As we mentioned in Part 1, the episode they were filming on the day of our visit involved Bert and Ernie sleeping over at Gordon and Susan’s apartment. Beyond the adorableness of that situation, that tells us one important thing: Steve Whitmire is in the house. Along with Eric Jacobson and Matt Vogel (who was performing Ernie’s right hand), these three gentlemen represent the second wave of Muppeteers, taking responsibility for the characters created by Jim Henson, Frank Oz, and someday (in Vogel’s case) Jerry Nelson and Caroll Spinney.

We had the unique opportunity to have an extended discussion with Whitmire, Jacobson, and Vogel, culminating in one of our proudest moments as Muppet fans. And as always, the greatest pleasure comes with being able to share our experience with you. So happy viewing, and thanks to Steve, Eric, Matt, and everyone else at Sesame Workshop for helping to make this happen!

Click here to sit on a couch with the ToughPigs forum!

by Joe Hennes – Joe@ToughPigs.com

After the cast and crew finished taping the sequence that took place in Susan and Gordon’s bedroom, they began shifting the cameras around and preparing for the next scene, in which Maria and Luis go to the basement of 123 Sesame Street to fix the pipes, only to find Oscar scuba-diving. While this was going on, Muppet performers Carmen Osbahr and Leslie Carrara-Rudolph, fresh from playing dancing sheep, graciously agreed to talk to us on camera… even after the lights went out! Watch the video below to hear all about the GLOPs, Andy Samberg and the Shape-o-Bots, and to hear me completely fail to know the difference between Jason Mraz and James Blunt.

Hey, isn’t that Jim Martin, Caroll Spinney and Emilio Delgado milling around in the background? Why, yes. Yes it is. As far as I could tell, Martin was directing the scene, and Spinney and Delgado were playing Oscar and Luis, as you might expect.

As luck would have it, shortly after we talked to Ms. Osbahr and Ms. Carrara-Rudolph, we ran into two very special Sesame Street cast members: Abby Cadabby and Rosita. They were happy to chat with us, despite not even knowing what the word “chat” means. Watch the video here for the scoop on Flying Fairy School and the astounding true story of what happened to Rosita’s wings.

Are those two great, or what?

But that’s not all! Keep an eye right here on ToughPigs.com for the third and final installment of our Sesame day, in which we sit on a couch!

Our thanks to Carmen Osbahr, Leslie Carrara-Rudolph, Sesame Workshop’s Pam Hacker, and the rest of the Sesame Street gang, and a tip of the hat to Steve Swanson! Click here to learn the nose flute on the Tough Pigs forum!

by Ryan Roe – Ryan@ToughPigs.com

On the day we visited the set, production was under way on an upcoming street story featuring a whole heap of Sesame characters, includingBert and Ernie, Susan and Gordon, Maria and Luis, and Oscar. In other words, it was a pretty darn good day to be there. We managed to slip into the makeup room between takes for a video Q&A with Emilio Delgado (Luis) and Roscoe Orman (Gordon). Everyone reading this probably already knows which actor plays which character, so I don’t really need theparentheticals, eh?Oh well… I’ll leave them in case my dad is reading this. Anyway, I’ll let Messrs. Delgado and Orman tell you a little bit about the plot of the episode, as well as what it’s like acting with Muppets, memories of working with John-John, and more:

By the way, the question of whether they’re taping season 42 or 43 was clarified later, when we learned that during this production period they’ve been working on street stories for both the coming season and the season after that. Either way, that’s a lot of seasons.

The episode was about Bert and Ernie’s apartment getting flooded, requiring them to stay somewhere else while Maria and Luis attempt to fix the pipes, and while Oscar scuba-dives in the basement. When we arrived on the set, they were preparing to shoot a scene in which Ernie and Bert are staying over at Susan and Gordon’s apartment, and naturally, they bring their beds into Susan and Gordon’s bedroom. We didn’t get to see a script, but my best educated guess is that Ernie has trouble sleeping and invites some sheep (likely related to the Boogie-Woogie Sheep) over so he can count them.

When you watch Sesame Street on TV and you see a set like Susan and Gordon’s bedroom, it never occurs to you to think about how much space it takes up, or the logistics of “building up” to allow the puppeteers to work without doing a contortionist act. This set was built up, so before they could start, Roscoe Orman and Loretta Long (Susan) had to climb up a set of stairs to get into the bed. The whole set was built on the same stage as the main set, just a few feet away from 123 Sesame Street.

Here’s a look behind the scenes of one take from this street story:

For those of you keeping score at home, the sheep are performed by Carmen Osbahr, Leslie Carrara-Rudolph, and Joey Mazzarino, and Ernie is being right-handed by Matt Vogel. (Ernie and Bert are performed by Steve Whitmire and Eric Jacobson, respectively, as usual.)

We’ll have more cool videos from the set of Sesame Street coming soon, so keep an eye on this here website. Our thanks to the Sesame gang for the hospitality, and a tip of the hat to Steve Swanson!

Click here to dance with sheep on the Tough Pigs forum!

by Ryan Roe – Ryan@ToughPigs.com

Other highlights include Luis making Elmo a piggy bank (out of an old jar, a very thrifty move), a pair of rapping penguins, and evidence that Sesame Street has its own unique currency:

So if Mr. Hooper is on the one, who do you think is on the twenty?

Click here to save up for a Stupendous Ball on the Tough Pigs forum!

by Ryan Roe – Ryan@ToughPigs.com

The day began just like any other, with a concert by Bob McGrath (what, he doesn’t come to your house to sing you awake every morning??). While wearing one of Bill Cosby’s sweaters, Bob sang a few songs, which asked if we were happy (and if we were aware of the fact then we should clap our hands), about letters of the alphabet, funky dinosaurs, and he even sang a few Christmas tunes. (Before Thanksgiving? Too soon, Bob!) Sadly, Bob did not break out into “Sir Duke” like we’d hoped. Throughout the show, Bob was interacting with the kids in the front row, which was too adorable for words. Especially when a mother sat her baby on the stage next to Bob for a photo op, and the baby broke into tears of sheer horror. Who knew that Bob had it in him to actually scare someone?

After the show, we had a few hours to check out the exhibit in the library. The front cases held photo puppets, original scripts and sheet music, claymation Bert and Ernie, the Teeny Little Super Guy, an invitation to Maria and Luis’ wedding, an Emmy, and of course, lots and lots of photos. It’s always impressive to see this much Muppet stuff in one room, and moreso to see it all be given the museum treatment it deserves. Behind these cases was a set of framed art, with original art from Sesame Street storybooks (including one from our favorite, “The Together Book“). It’s easy to forget that Sesame Street has published so many books. I’ll bet they could fill the entire library with illustrations by guys like Joe Mathieu, Michael J. Smollin, and Jack Davis.

One thing on my checklist that we weren’t getting done was to get one of the new Elmo library cards. The advertisements said that they were for “new accounts”, but I figured it couldn’t hurt to try. When I asked, the librarian told me that they were “for kids.” As if that’s ever stopped me! But when I pressed further, she told me that I could request one, but only if I wanted to deprive some other child of getting his or her own Elmo library card. Needless to say, Elmo does not grace the cover of my card. Curse you, librarian guilt!
The main attraction for the day was the panel discussion, moderated by Louise Gikow, and featuring Chris Cerf, Executive Producer Carol-Lynn Parente, puppet builder Rollie Krewson, Bob McGrath, and Fran Brill. (Sesame Workshop CEO Gary Knell delivered the introduction, and he revealed that Iftah Ya Simsim, the Kuwaiti Sesame Street, is back in production.) After the customary how-did-you-get-started questions (Bob was big in Japan! Fran cold-called Jim Henson for an audition!), Louise Gikow did a great job at keeping the conversation moving and interesting to both the casual fans and the seasoned vets.

One of the most interesting bits to me was the inclusion of Rollie Krewson, who doesn’t normally get to sit on panels like this. Krewson talked about getting her start as Henson’s first intern (the first puppet she ever built: a baby Koozebanian, or “Koozie-pup”, with the help of Dave Goelz). Another interesting tidbit she gave is that she prefers to sculpt characters before building, rather than sketch them out like other puppet builders. I for one would love to see some of the early sculpts for familiar characters. Yet another tidbit: Krewson’s daughter came up with the idea to put sparkles in Zoe’s hair (or is that fur?).

Chris Cerf, who lost his voice the day before, spoke briefly about working at Random House (“It helps when your father owns the company”), being in the army with Jeff Moss, and attending Harvard with Joe Raposo. He said that he got his start writing songs on Sesame Street because he “knew rock and roll”, which is how his first song, “Count It Higher”, came into fruition.

Bob McGrath talked about having trouble in his first year of Sesame Street because he couldn’t figure out who his character was supposed to be. Jon Stone gave him the direction to “be himself”, because kids can tell in an instant when an adult is faking it. Fran Brill spoke about the creation of Prairie Dawn, and how she started as “sweet, innocent and docile,” but soon became a “neurotic perfectionist.” According to Brill, the difference between Prairie Dawn and Zoe is that “Prairie would never go near a puddle, while Zoe would jump right in.”

A few short tidbits from the panel: Fran Brill is 5’4″, and sometimes has to wear 7″ platform shoes, but she has never fallen. While performing a live-hand puppet, Frank Oz would sometimes rest his left hand over the right to keep the second puppeteer from over-gesticulating. Chris Cerf once wrote a sketch after receiving a letter from the Dairy Goat Association, in which a dairy goat apologized for a previous cartoon featuring a goat eating a sneaker (of course, it ended with a non-dairy goat asking, “are you going to eat those sneakers?”). The puppeteers and writers love Zoe’s pet rock, Rocco, but they felt that he made Zoe “a little too bossy” (thankfully for all you Rocco fans, he’ll be back in season 41). The Mr. Snuffleupagus costume weighs 115 lbs. While Paul Simon was on set in between takes, he walked past Oscars can, and Oscar popped out and said “Boy, you are short!”. Paul Simon was not amused (Caroll Spinney said, “I don’t know why I did that! I love Paul Simon!”).

The highlight of the panel was an impromptu concert with Chris Cerf and Bob McGrath. Unfortunately, Cerf’s voice was almost completely lost at this point in the night, so it’s better in theory than in practice. But that doesn’t stop these guys from being living legends, so enjoy this video of Chris and Bob singing a few famous Sesame tunes!

A million thanks go out to the great folks at Sesame Workshop and the Brooklyn Public Library for organizing this event. It was a lot of fun, we learned a lot, and we were thrilled to see so many people attend and show some love for Sesame Street.

If you’d like to see the exhibit, it will be on display at the Brooklyn Public Library at Grand Army Plaza until February 21, 2010.
Click here to be denied a library card on the ToughPigs forum!

Hey, how about that interview with Louise Gikow from the other day? Wasn’t that fantastic? Sorry, what’s that? You think it should’ve been longer? Well you are in luck, my furry friend! Part two of our chat with Louise is right here, right now!

ToughPigs: How did you get started in your career with the Muppets?

Louise Gikow: When I was very young, I was a graduate student of Medieval Literature at Columbia University. I got my Masters and decided that it was insane to be a Medievalist. It was a bad economic time and nobody wanted professors of medieval literature. I also realized that university teaching and the university atmosphere was probably not for me. I wanted real life. So I left, answered an ad in the New York Times, and got a job at the National Lampoon Magazine for six years. I worked with everyone from Doug Kenney to Henry Beard to John Belushi, because I was a production assistant on the first Lemmings show. I?¢‚Ǩ‚Ñ¢ve been so incredibly lucky. I was there for about six years as the Senior Copy Editor, and then I decided that I didn?¢‚Ǩ‚Ñ¢t want to be working for that magazine when I?¢‚Ǩ‚Ñ¢d hit a ripe old age. I loved it madly, but it was time for me to move on, so I quit and freelanced for a while. And while I was freelancing, my friend Mark Saltzman, who had been writing for Sesame Street, called me and said that they were starting Muppet Magazine and they were looking for freelance-permanent staff. And I became the Managing Editor of that.

TP: So Muppet Magazine was your first job with the Muppets?

LG: Yeah, it was my first Muppet experience. I worked there for about a year, and it was a great gig for me, because I would come in irregularly and I made about $12,000 a year, which at that time was an enormous part of my income, which goes to show you how the world has changed. After about a year, Jane Leventhal, who was the head of publishing, who is the older sister of J.P. Leventhal, who is the publisher of [the Sesame Street 40th Anniversary book], called me up and said she?¢‚Ǩ‚Ñ¢d like me to come and work full-time in the publishing division. I really like freelancing, and I like having permanent jobs, but I really don?¢‚Ǩ‚Ñ¢t like transitioning between the two. And I told Jane a few weeks later that I had a nightmare the night after she asked me to come where she was chasing me around the office with a meat cleaver, shouting ?¢‚Ǩ?ìCome join us! Come join us!?¢‚Ǩ¬ù And I was running away going ?¢‚Ǩ?ìNo, no, I don?¢‚Ǩ‚Ñ¢t want to! I like freelancing!?¢‚Ǩ¬ù But I went and joined them anyway because it was one of those things you couldn?¢‚Ǩ‚Ñ¢t pass up. I was lucky enough very soon afterward to become kind of an ad-hoc creative group that Jim gathered of people from a variety of places, and I just happened to be in the right place at the right time, and I guess he liked my big mouth and my ideas enough to invite me to all the meetings. So I didn?¢‚Ǩ‚Ñ¢t do the scriptwriting very much for him, but I did a lot of bits and pieces like PR and internal films and things like that. Mostly I was a part of this brain trust kind of thing. And Jim?¢‚Ǩ¬¶ oh Jim, Jim was a wonderful guy. I miss him very much. He used to gather people together for these weekends, and he would hire the most amazing people, people who were famous in a variety of fields, and we?¢‚Ǩ‚Ñ¢d go in and they?¢‚Ǩ‚Ñ¢d tell you these fascinating things about their fields and we?¢‚Ǩ‚Ñ¢d brainstorm about what we can do. It was just a joy, we were so lucky.

I did that for 11 years, past when Jim died, probably longer than I should have, mostly because I just loved it there and it was hard to leave. Then I got a job starting a publishing and multimedia division at Nickelodeon, and I thought I really had to try it. So I spent two years at Nickelodeon, and I learned more there than I had at any other job in my life, and it?¢‚Ǩ‚Ñ¢s influenced everything I?¢‚Ǩ‚Ñ¢ve done since, because it was more about what makes a successful show, what makes a successful network. And then Chris Cerf asked me to join Sirius Thinking, where I worked for seven or eight years, and I?¢‚Ǩ‚Ñ¢ve got two Emmys to show for it. Then I left to freelance and I?¢‚Ǩ‚Ñ¢ve been freelancing ever since.

I was always a book writer, I became a script writer, I helped develop shows like Johnny and the Sprites, I wrote the last two planetarium shows. And as a part of my freelance work, I got a call one day from J.P. Leventhal, and he told me about the 40th anniversary book, and he asked if it was a project I?¢‚Ǩ‚Ñ¢d be interested in writing. Because when The Works was done, I was pretty instrumental in the publishing division, rewriting it and getting it all together. So I said you betcha. I know they?¢‚Ǩ‚Ñ¢ve tried to do it before and haven?¢‚Ǩ‚Ñ¢t really been able to. There was Sesame Street Unpaved, which was a different kind of book, and I think they planned on a 25th anniversary book in-house, but it was very difficult. I think one reason why it was possible now is because of the perspective. The world is changing so much and Sesame Street is still here, and it demands a celebration. It took a long time to get the project off the ground and it took a long time to get it done.

TP: You have written books for more of the Muppet franchises than just about anyone: Muppets, Sesame Street, Fraggle Rock, Muppet Babies, Muppet Kids, Wubbulous World of Dr. Seuss., Labyrinth. Did you have a favorite franchise to work with?

LG: I love Fraggle Rock, I really do. I mean, I love them all, but there was something about Fraggle Rock that was joyous and amazing, and the people were extraordinary. It?¢‚Ǩ‚Ñ¢s really inspired other people. John Tartaglia was inspired by Fraggle Rock to do Johnny and the Sprites. It has extraordinary music, it?¢‚Ǩ‚Ñ¢s such a wonderful show. And it breaks my heart that more people don?¢‚Ǩ‚Ñ¢t know about it, and I know they?¢‚Ǩ‚Ñ¢re bringing it back now in DVDs, and I?¢‚Ǩ‚Ñ¢m hoping that they really promote it because. It was a show that was ahead of its time in terms of a broadcast situation because it was on HBO and HBO wasn?¢‚Ǩ‚Ñ¢t big enough. And the only place where it became popular was that band between America and Canada, because all of the northern states could pick up the signal from CBC. So we?¢‚Ǩ‚Ñ¢d get huge numbers in Buffalo of Fraggle Rock fans because they could get it on television.

The other one that was close to my heart was the Palestinian-Jordanian-Israeli Sesame Street co-production. It was an amazing opportunity to work with those people, and to do something to really make a difference. That?¢‚Ǩ‚Ñ¢s where Gary Knell is really standing out now, and that?¢‚Ǩ‚Ñ¢s where he?¢‚Ǩ‚Ñ¢s dug his heels in, saying this is how we?¢‚Ǩ‚Ñ¢re going to change the world. I think Joan [Ganz Cooney] really wanted to change the world when she began, but I think she was thinking of the American world. And very soon after it became the international world. So to be a part of international for Sesame Workshop was an additional gift. I worked for Jim Henson for 11 years and it was all amazing, I loved it dearly, but that was something that let you wake up feeling good every day.

TP: Going back to the books, how did it work when you?¢‚Ǩ‚Ñ¢d get an assignment? Did you pitch ideas, or would you get a note saying ?¢‚Ǩ?ìWe need a book about Wembley?¢‚Ǩ¬ù?

LG: I?¢‚Ǩ‚Ñ¢ll tell you the story about the first book I ever wrote. I wrote over 100 books, some under pseudonyms. I wrote under ?¢‚Ǩ?ìEmily Paul?¢‚Ǩ¬ù and ?¢‚Ǩ?ìRebecca Grand?¢‚Ǩ¬ù. Emily Pauline is my niece, and Rebecca Grand was my grandmother. I liked both of those names, and I thought they sounded sort of professional. Now I can say it since no one will care anymore. Anyway, what would happen was we?¢‚Ǩ‚Ñ¢d make a deal with the publisher, and they?¢‚Ǩ‚Ñ¢d say how many books they want and how many pages in each book. So you really started with a format, and you?¢‚Ǩ‚Ñ¢d know the kind of book you?¢‚Ǩ‚Ñ¢d want to do and the age range of the kids who will read it. I was going to write the first Fraggle Rock books myself because they didn?¢‚Ǩ‚Ñ¢t give us any lead time, and the show wasn?¢‚Ǩ‚Ñ¢t going to be on for a while, and it was difficult to explain to people what the show was going to be. I was involved in production, I was at the set in Toronto, I knew about the show. So we were going to do the first books in-house and then outsource the later ones. You don?¢‚Ǩ‚Ñ¢t want to do them all yourself, because then you don?¢‚Ǩ‚Ñ¢t get any interesting voices. But I decided for the first book I ever wrote for them that I?¢‚Ǩ‚Ñ¢d write ?¢‚Ǩ?ìWhat?¢‚Ǩ‚Ñ¢s a Fraggle??¢‚Ǩ¬ù I love rhyme, I love Dr. Seuss, and I wanted to write a sort of funny explanatory book for kids, because I thought it was a good way to start the line. Very often I would talk to the publisher about the book, or I would talk to [editor] Jane [Levinson] about my ideas, but this one I didn?¢‚Ǩ‚Ñ¢t. We had a meeting where Jane told us what the formats were, and I said I?¢‚Ǩ‚Ñ¢d like to do a book about Fraggles. She said let?¢‚Ǩ‚Ñ¢s try a book like that, and then I went back to my office and wrote it in five minutes and came back and said ?¢‚Ǩ?ìYou mean like this??¢‚Ǩ¬ù She thought I was out of my mind. I?¢‚Ǩ‚Ñ¢m sort of hyper when I get excited, and I?¢‚Ǩ‚Ñ¢m a very fast typist. But I knew exactly what I wanted to do, and it was basically published verbatim, just as I wrote it. I don?¢‚Ǩ‚Ñ¢t think there was a single word change. Jane really liked it and the publisher liked it, but God knows not all books were like that.

The way it works is, if the order is for eight books, you?¢‚Ǩ‚Ñ¢d look at them and say ?¢‚Ǩ?ìLet?¢‚Ǩ‚Ñ¢s do a general book with all of the Fraggles, let?¢‚Ǩ‚Ñ¢s do five featuring the main characters, and a Doozer book?¢‚Ǩ¬¶?¢‚Ǩ¬ù and I did a ?¢‚Ǩ?ìWhat?¢‚Ǩ‚Ñ¢s a Doozer??¢‚Ǩ¬ù book too, and I thought that had a genius idea, that the way Fraggles start was that there was a lazy Doozer who at a lot and didn?¢‚Ǩ‚Ñ¢t exercise, so he became bigger and bigger and eventually became a Fraggle. So it?¢‚Ǩ‚Ñ¢s part of Doozer lore that Fraggles are basically useless Doozers.

TP: You also wrote a lot of the Muppet Kids books. Was that any more difficult because you didn?¢‚Ǩ‚Ñ¢t have source material to pull from, like Fraggle Rock or Muppet Babies?

LG: We were very careful on Muppet Kids. If you work for the Muppets for as long as we did, you really know these characters well. There were always creative kickoff meetings for things like this where we?¢‚Ǩ‚Ñ¢d talk about how it would work, who would these kids be, where would they live, what would they look like and how would they behave?

The first time I came on board, when I was working for Muppet Magazine, I was writing the Miss Piggy column. The way you write a lot of this stuff, especially when you?¢‚Ǩ‚Ñ¢re not the character yourself, is you get the voice of the character in your head. When I first began to do that, I had a meeting with Frank Oz. Frank was very particular about Miss Piggy at the time, and he spoke to me for a couple hours about Piggy. He told me the classic pig?¢‚Ǩ‚Ñ¢s beginning story, born on a farm, lots of brothers. He was extremely helpful to me, because he told me where he got her from and from where he derived this extraordinary character and all the things that sort of made her her. So you?¢‚Ǩ‚Ñ¢d get to know these characters like you know your friends. And I may not have known my best friend when she was 15, but I know who she was when she was 15. The essence of a person is the essence of a person. You know that Piggy started out scrabbling the yard with all her brothers, elbowing her brothers out of the way so she could get her share of the food because she was smaller, so she had to learn to be aggressive early on. So you know the kind of kid she was in grade school, and you know the kind of kid she was in junior high. She probably never went to college, and she?¢‚Ǩ‚Ñ¢s probably embarrassed by that fact, because she had to go out and earn a living?¢‚Ǩ¬¶ To know who a character is is everything.

TP: You wrote the Sing Along with Kermit and Friends tapes. How was it different writing for Jim Henson, rather than just his characters in the books?

LG: Luckily for me, Jim was comfortable enough with what I?¢‚Ǩ‚Ñ¢d written to just read them. Jerry Nelson, who?¢‚Ǩ‚Ñ¢s just the most talented puppeteer, voice artist, character builder, and just an amazing and wonderful guy, did Robin on a number of those and was just amazing. I?¢‚Ǩ‚Ñ¢m trying to think if it made any difference, and the truth is that it didn?¢‚Ǩ‚Ñ¢t. Whatever I wrote they had to like, as far as I was concerned. It wasn?¢‚Ǩ‚Ñ¢t a matter of whether they were going to read it or if they were going to read it and say it out loud. It was a little confrontational emotionally for me when they did it, but it was also very pleasurable. I loved working with them, they were brilliant, and I just loved being among them. But the books were just as important to me to get right, and if I didn?¢‚Ǩ‚Ñ¢t write my best and do my best to get the voices right, I wouldn?¢‚Ǩ‚Ñ¢t have been doing my job. And because everyone was so incredibly supportive, it was such a joy to work with them, it never occurred to me to be scared. It was actually more fun and more joyous, and I think the reason why I moved from writing books to doing more production is because I get to work with more people like that.

TP: I know that there are a good deal of inside jokes in the Muppet books. Were you ever caricaturized in any of your books?

LG: No, not as far as I know. My name was occasionally used as a character, but not artistically. Although I did play Miss Preen in the National Lampoon Yearbook. If you go back and find Miss Preen the guidance counselor, that was me.
Many special thanks to Louise Gikow for chatting with us! Keep an eye out for Sesame Street: A Celebration of Forty Years of Life on the Street, due in stores this November!

Click here to ask What’s a Fraggle on the ToughPigs forum!

The first thing you?¢‚Ǩ‚Ñ¢ll notice about this book is that it?¢‚Ǩ‚Ñ¢s massive. It?¢‚Ǩ‚Ñ¢s a coffee table book, yeah, but you might just have to get a bigger coffee table to accommodate it. And if you were to hand the book to a small child of Sesame Street-watching age, he would most likely wobble unsteadily for a moment before adorably toppling over. This is a good thing: The bigger a book like this is, the more comprehensive it’s likely to be, and we’ve been waiting for a Sesame book that we can not only sink our teeth into, but devour hungrily, Cookie Monster-style.

The second thing you?¢‚Ǩ‚Ñ¢ll notice about the book is that the pictures are amazing. Even if you?¢‚Ǩ‚Ñ¢ve read the previous behind-the-scenes books, seen the various TV specials about the show, and downloaded Muppet Wiki directly into your brain, I gurantee you will come across pictures you?¢‚Ǩ‚Ñ¢ve never seen before.

It?¢‚Ǩ‚Ñ¢s just as well the book is too big for me to take on the subway, because I would constantly be disturbing my fellow passengers with exclamations upon seeing all these cool and rare photos. Hey look, it?¢‚Ǩ‚Ñ¢s Brian Meehl in China, wearing Barkley’s head and feet! Hey look, it?¢‚Ǩ‚Ñ¢s a promotional shot of the entire Muppet and human cast having a huge party on the ?¢‚Ǩ?ìAround the Corner?¢‚Ǩ¬ù set! Hey holy crap, it?¢‚Ǩ‚Ñ¢s a shot of Jim Henson trying on Bert and Frank Oz trying on Ernie at an early workshop session!

The third thing you’ll notice is that the book is equally perfect for the casual fan and the hardcore geek. About half of it is all the expected stuff, like how the show got started, how Maria and Luis got married, yada yada yada. That’s all well and good for most of the book-buying public. But those of us who know how to spell “Snuffleupagus” without looking it up need more, and this book delivers. There are sections about how the set is built, how the music is recorded, the cartoons seen on the show, the various studios the show has occupied… and there are lots of tidbits throughout the book that I never knew: Slimey the worm’s voice is that of sound effects editor Dick Maitland! Caroll Spinney still uses the exact same monitor when performing Big Bird that he used in the first season! Bobby Payne performed Telly in his first appearance! And so on.

And consider the fact that by the halfway point of the book, Sesame camera operator Frank Biondo has already been mentioned, like, eight times. That’s right — c

ameraman Frank Biondo is a major character in the book, and that is awesome. These shout-outs come during the pages that describe production on recent and yet-to-be-aired episodes, which really make you feel like you’re there. Louise Gikow was a great choice to write this book, as she?¢‚Ǩ‚Ñ¢s more than just a casual fan, she’s an insider, having worked with the Jim Henson Company and Sesame Workshop on numerous projects.

I was initially a bit disappointed that there wasn?¢‚Ǩ‚Ñ¢t a 40th anniversary TV special, but now I think this book is actually better. At 300 pages, it can delve into a little bit of everything instead of just showing us the same old boring clip of Ernie singing ?¢‚Ǩ?ìRubber Duckie?¢‚Ǩ¬ù again.

As I said, it?¢‚Ǩ‚Ñ¢s great for both geeks and normal people, and anyone can pick up the book and either read it straight through from beginning to end, or open it to any random page and find something to love. If you get sick of reading, you can stick the bonus DVD in your DVD player and watch the show?¢‚Ǩ‚Ñ¢s first episode. Sure, you?¢‚Ǩ‚Ñ¢ve already seen it, but it?¢‚Ǩ‚Ñ¢s always fun to watch orange Oscar yell at Gordon #1.

So this is a book for anyone, basically, who?¢‚Ǩ‚Ñ¢s ever heard of Sesame Street. I’m so glad it exists, and from cover to cover, it reminds me how glad I am that Sesame Street exists.

Come back later this week for part two of our interview with this book’s own author Louise Gikow! And click here to give Sesame Street a crappy novelty 40th birthday gift on the Tough Pigs forum!

The release of the epic coffee table book Sesame Street: A Celebration of Forty Years of Life on the Street is on the cusp of showing up on your doorstep (y’know, assuming you did the smart thing by pre-ordering it on Amazon.com). Rather than wait patiently on the stoop for the mailman, we took this opportunity to sit down for a chat with Louise Gikow, the book’s writer and editor.

Stop back around these parts later this week for part 2 of our chat with Louise, when we’ll be talking about her entire career with the Muppets. But for now, let’s learn a thing or two about her work on Sesame Street: A Celebration!

ToughPigs: Can you tell us about some of the research you had to do for the book?

Louise Gikow: I was very lucky because I was with Sesame Workshop, and I knew many of the people involved. Many of the puppeteers, a lot of the writers, we were in and out of each other?¢‚Ǩ‚Ñ¢s pockets over the years, and I love them all dearly. So one of the things I did was talk to every person I possibly could on the staff. And really, that was most of the research I had to do. That and my own knowledge of everything. I knew Richard Hunt very well, I knew Jim, I knew Jon Stone. I did use the internet. I used, God bless you, your site and I used the Muppet Wiki a lot. And I have to say, it?¢‚Ǩ‚Ñ¢s extraordinary what you guys do. I will tell you, people at the Workshop have gotten information about what the Workshop is going to do from you guys before they even knew it was happening. There?¢‚Ǩ‚Ñ¢s a habit at the Workshop, it?¢‚Ǩ‚Ñ¢s a very casual work environment, that when some people got hired, they didn?¢‚Ǩ‚Ñ¢t even know they were hired until somebody mentioned to them a week before shooting, ?¢‚Ǩ?ìOh by the way, we?¢‚Ǩ‚Ñ¢re sending you your ticket,?¢‚Ǩ¬ù and it?¢‚Ǩ‚Ñ¢s like ?¢‚Ǩ?ìSo I got the job??¢‚Ǩ¬ù

I had to use the obituaries, sadly much more than I wanted to. But the truth is that most of what I did was talk to people. And it?¢‚Ǩ‚Ñ¢s ironic because some of my interviews will sound like interviews that have been done in the past because people tend to give the same interviews over and over again, but I got them from the horses?¢‚Ǩ‚Ñ¢ mouths. I was lucky enough to work with Betsy Loredo, who is a wonderful editor, who did a tremendous amount of work on this book. We had a conversation years ago, and we both felt really strongly that we wanted the book to not be a tombstone on what maybe some people think is a show that is no longer being produced. And what I envisioned was pretty much what happened. That season, I went on set for many, many days, I?¢‚Ǩ‚Ñ¢d get there before 9 and I left when everybody left, and I sat in a chair on the set, and I got to meet all the members of the staff that I?¢‚Ǩ‚Ñ¢d seen but never got a chance to talk to, and I literally scribbled in my notebook constantly. I wanted to get a sense in the book about actual production. I wanted this to be a book that people who are interested in television production could read and get a sense of what the show?¢‚Ǩ‚Ñ¢s production is about. I really wanted to pay tribute to the people on staff who were the unsung heroes, not just the puppeteers. The technical people, the lightning people, cameramen, and really make sure they all show up in the book.

TP: Did you collaborate at all with Michael Davis?

LG: No, that was a completely separate project, but I think we?¢‚Ǩ‚Ñ¢re appearing on a couple panels together. Actually, I still have to read his book. I specifically didn?¢‚Ǩ‚Ñ¢t read it because I didn?¢‚Ǩ‚Ñ¢t want to be influenced by it. He was writing at the same time I was, and I really wanted it to be my voice and the voice of the people who were in it, and it was too close a timeline. But because the books were so close, I wanted them to be different. I really wish him the best, and I want his book to sell well, I want our book to sell well. I think if they?¢‚Ǩ‚Ñ¢re different, they?¢‚Ǩ‚Ñ¢ll support one another. I also think it?¢‚Ǩ‚Ñ¢s great that he was able to express a different point of view and really go after a different aspect of the whole thing. It was more me staying out of his hair because he got his haircut first, so I can?¢‚Ǩ‚Ñ¢t say he had to stay out of mine. When I first went on set, everyone said ?¢‚Ǩ?ìI?¢‚Ǩ‚Ñ¢ve already talked to somebody who?¢‚Ǩ‚Ñ¢s doing a book.?¢‚Ǩ¬ù And I said, ?¢‚Ǩ?ìBut you didn?¢‚Ǩ‚Ñ¢t talk to me! Who is this person??¢‚Ǩ¬ù I didn?¢‚Ǩ‚Ñ¢t know about [Street Gang], and neither did publishing because it was another division of Sesame that had given him access. But they got used to me because I just sort of sat around and was very nice and smiled a lot. I was very well-behaved.

TP: What were some of the most challenging parts of writing and editing the book?

LG: It?¢‚Ǩ‚Ñ¢s probably more publishing stuff; I know you?¢‚Ǩ‚Ñ¢re more interested in Workshop stuff. That part was not challenging, everybody was very generous with their time, everyone was really willing, the materials were unbelievably rich. The problem was that writing a book like this is chicken and egg. When I spoke with my editor, and knowing the Workshop like I do, I asked her how she wanted me to do it, because there is an enormous treasure trove of images and information and letters and memorabilia, but we didn?¢‚Ǩ‚Ñ¢t know what they were yet. They weren?¢‚Ǩ‚Ñ¢t accessible yet because we hadn?¢‚Ǩ‚Ñ¢t begun the research process. Each chapter starts out with an on-set visit and something that relates to that chapter, either puppeteering or behind-the-scenes or licensing or whatever. That part I could write because it was fresh. But the rest of the book was based on things that we didn?¢‚Ǩ‚Ñ¢t have available. Normally if you?¢‚Ǩ‚Ñ¢re writing a big coffee table book on just about anything, you?¢‚Ǩ‚Ñ¢d have the images already, and your writing would determine what images you used. I couldn?¢‚Ǩ‚Ñ¢t do that because I never knew what images were available. So the biggest challenge was writing an entire manuscript of many hundreds of pages, and then completely rewrite it for the most part because of what we discovered. We wrote it first, and some of it stayed, but some of it was cut because we didn?¢‚Ǩ‚Ñ¢t have images, but more importantly, more images became available and we had to rewrite to that. And up until the last minute, we were rewriting to things that were surfacing weeks before it was due.

TP: Did you have a favorite part of making the book?

LG: Talking to the people. I got a chance to meet a lot of people I?¢‚Ǩ‚Ñ¢d heard about. Frank Biondo, Caroll Spinney I didn?¢‚Ǩ‚Ñ¢t know well, a lot of the actors and actresses. But talking to everyone was so extraordinary. And having an excuse to spend four hours with Steve [Whitmire], who I never get to see. Spending a little more time with Matt Vogel, who I vaguely knew. Getting to know Joan [Ganz Cooney], who I had met but never really spoken with. I got to watch the older interviews done with the American Television Institute. I just loved it. It was one of the main reasons why I agreed to write the book. What a gift, to be able to spend your life near people like that. It?¢‚Ǩ‚Ñ¢s like, how did I end up here by answering an ad in the New York Times? These are the greatest people. I work with geniuses, whatever that word means.

TP: What about your least favorite part?

LG: It had to be all of the people I didn’t meet. What I?¢‚Ǩ‚Ñ¢m talking about is all the people who I didn?¢‚Ǩ‚Ñ¢t get a chance to talk to. I mean, office managers from 1979. I send my thanks to everyone who was involved, all the people I couldn?¢‚Ǩ‚Ñ¢t talk to as well as the ones I could, because every single one of them left a bit of themselves in the company and on the show.

TP: Was it difficult to find a balance in the book between the old years of Sesame Street and the new?

LG: Not really, no. I didn?¢‚Ǩ‚Ñ¢t feel that there was. I?¢‚Ǩ‚Ñ¢d like to think that I did a good job at keeping it balanced. Clearly there?¢‚Ǩ‚Ñ¢s an awful lot of early stuff here, but I wanted to reflect what production is like right now and how it has changed.

One of the things I really wanted to do, and this is specifically to you and to [the Muppet Wiki] and all the fans out there, but I really wanted to put at least one thing in the book that you didn?¢‚Ǩ‚Ñ¢t know, but I don?¢‚Ǩ‚Ñ¢t know if I succeeded because you guys know everything! Many of the images I?¢‚Ǩ‚Ñ¢m sure you?¢‚Ǩ‚Ñ¢ve never seen, but I hope there?¢‚Ǩ‚Ñ¢s at least a point of view or something that you guys will really like. It?¢‚Ǩ‚Ñ¢s you guys who have kept it alive in an extraordinary way, and it?¢‚Ǩ‚Ñ¢s humbling to everyone at the Workshop, and we admire you enormously. And it?¢‚Ǩ‚Ñ¢s why I always felt that there was a little ToughPig sitting on my shoulder saying, is it good enough, is it original enough, is it unique enough, will you like it?

TP: I?¢‚Ǩ‚Ñ¢m glad we were involved somehow! Was there anything in the book that you wanted to be in it, but had to cut?

LG: The truth of the matter is that you can?¢‚Ǩ‚Ñ¢t include everything you want in a book like this. I wish I could have acknowledged every single person. Another thing that had to get cut was a lot of the on-set stuff. There were an awful lot of funny lines and interesting things that I had to let go of. I wrote a book that?¢‚Ǩ‚Ñ¢s probably three times the length of the one that came out. But there?¢‚Ǩ‚Ñ¢s nothing specific, nothing that stands out as a hole in the book.

TP: Since you?¢‚Ǩ‚Ñ¢re one of a few people who has really delved into Sesame Street?¢‚Ǩ‚Ñ¢s 40-year history recently, is there an era where you feel like the show was at its peak?

LG: Not really, no. The truth of the matter is that there are peak moments throughout. For example, there?¢‚Ǩ‚Ñ¢s a description in the book of Jim and Frank in a recording session doing Bert and Ernie, and some of it was scripted and some of it was ad-libbed, and what comes out on the screen is just extraordinary. A couple of those moments with the kids, like Jon Jon, are just amazing moments. The sad moments, like Mr. Hooper, and the reveal of Snuffy. I like to think the show is sort of like a life. As a newborn, you take lots and lots of pictures, but less as it gets older. But that doesn?¢‚Ǩ‚Ñ¢t mean that graduations and jobs and so many moments through a person?¢‚Ǩ‚Ñ¢s life aren?¢‚Ǩ‚Ñ¢t as important. The entire 40-year arc for me is a highlight.
Click here for part two of our interview with Louise Gikow, where you’ll see Louise talk about her career writing for the Muppets!

Click here to be the little ToughPig on Louise’s shoulder on the ToughPigs forum!

The Brooklyn Public Library at Grand Army Plaza will be slewing a host of events (sorry, that’s hosting a slew of events) through November, including the exhibit “Sesame Street: A Celebration of 40 Years of Life on the Street“. The exhibit will run from November 14 to February 21, and will include Muppets and show props, scripts and sheet music, and photographs and animation cels. I heard a rumor that they might have Emilio Delgado in a glass case, but that’s probably not true.

When the exhibit opens on November 14, the Brooklyn Public Library will hold a Family Fun Day, in which you can be among the first to see the displays and meet a real life walkaround Elmo! We don’t have word yet if it will be Kevin Clash in the Elmo suit, but don’t get your hopes up. Or get them up, what do I care?

On November 21, Bob “Bob” McGrath will be on hand to kick out a few jams for the kids (and the Bobketeers like myself, who will be standing in the back row). Bob’s concert will start at 1:00pm.

Following Bob’s operetta, Louise Gikow will moderate a panel discussion about Sesame Street’s 40th anniversary and the upcoming book, Sesame Street: A Celebration. Panel members include Fran Brill, puppet builder Rollie Krewson, Bob McGrath, Carol-Lynn Parente, and Chris Cerf. Panel watchers will include me. The panel will start at 4:00pm on November 21.

To reserve your free tickets for the two events, call the Brooklyn Public Library at 718-230-2100.
Finally, all 60 Brooklyn Public Libraries will have limited edition Elmo library cards to dole out to budding readers. There are only 30,000 cards, so get yours fast! And if you don’t want a new library card (or if you’re one of those “non-Brooklynites”), they will also be giving away free Sesame Street bookmarks, coming in four different designs.

If you live near the New York area, be sure to stop by and see the exhibit! And if you attend the panel discussion, come say hello to your ToughPigs friends!
Click here to crack open a book on the ToughPigs forum!

But heck, who cares? Only old people still watch TV on their televisions! If you haven’t seen the special, you can click this link right here to watch it on Sesame Workshop’s website.

So, the point of the show was to help families deal with financial crisis in the recession, so I can’t make fun of it or I’d be a big jackass. (Although I have to say the title’s not very memorable — I keep calling it “Families Standing Up” or “Families Hanging Out” or “Families Falling Off the Monkey Bars.”) And anyway, it’s a very good special.

It’s hosted by Al Roker and his wife Deborah Roberts, who are hanging out on Sesame Street on the day of the big “Community Market,” which is apparently a fancy name for a flea market. I love that Elmo and Grover and Chris all act like Al Roker is their best pal whom they’ve known for years. There are many reasons I’d like to live on Sesame Street, but that’s a biggie — the fact that I’d automatically be friends with any celebrity guest who dropped by.

Speaking of biggies, Al Roker sure looks different since he lost all that weight, doesn’t he? I can’t help but feel like he’s the wrong shape somehow… he’s kind of like a Stretch Armstrong that’s lost all its elasticity. I wasn’t expecting so much Grover in this special, but it’s great to see so much of him. He has some great, Grovery bits with Chris, as he tries to buy a community at the community market and looks for a job.

Meanwhile, Elmo’s family has run into trouble: His mom has lost her job. And so, as we see in scenes interspersed throughout the special, they’re making a few changes in their lifestyle and cutting a few corners. But that doesn’t mean they can’t have a good time as a family! You know, I have to wonder how much money they’ve spent on fish food for Elmo’s goldfish Dorothy over the past 12 years. That’s one old fish.

So then there are real, human families who are not as loveable as Elmo and his parents, but who have also found themseles in tough situations after losing jobs and such. I really don’t know how a child might respond to all this stuff, but the dominant theme is always “It’s going to be okay because we’re still a family,” which is nice without being too unrealistic. It wouldn’t really do any good to tell them, “Soon we’re going to be able to take that trip to Disney World after all!” because it probably won’t happen, but telling them they’re going to be okay is probably… okay. There’s a song about that too, but unfortunately it was super-bland.

So, yeah. This was a good TV special, and thank goodness Sesame Street is around to do stuff like this (I was surprised to see that they got some help producing this show from Worldwide Pants, which is David Letterman’s company. I always got the impression Letterman didn’t even like Muppets!). Of course, it would be even better if the economy hadn’t gotten so bad and they had never had to do this special in the first place, but for all the tickle hands and silly Elmo birthday DVDs, it’s great to see Sesame still doing something so important.

Oh, but I just want to point out one thing: Toward the end of the show, the kids from one of the featured families are selling lemonade for 25 cents a cup. Al Roker pays them a quarter and takes a cup… and then Deborah takes a cup too, but they never pay for it! It’s a hot cup of lemonade! THE ROKERS STEAL LEMONADE FROM FINANCIALLY STRUGGLING CHILDREN — PASS IT ON!

Click here to update your r?ɬ©sum?ɬ© on the Tough Pigs forum!