ALL THINGS SESAME STREET

                                  

(This article is an edited re-print of a prior post)

Over the past bunch of years, I have had the honor of interviewing a group of long-time cast, crew

and writers from the cultural juggernaut that is Sesame Street. It started with an in-person Q&A with Elmo Muppeteer and Sesame Co-Producer Kevin Clash. 

Kevin suggested I also talk to cameraman Frank Biondo, who has been with Sesame from the get-go, as well as Fran Brill.  You may know Fran as Zoe and, starting from way back when, Prairie Dawn.

While on the set with Frank, I also got to meet Big Bird Muppeteer Carroll Spinney, as well as a young person who started writing letters to Carroll at age five. 

What a  treat to meet Bonnie Erickson, who used to work for Sesame and who also created Ms. Piggy, Statler, Waldorf, and other iconic Muppets, to find out her life story.

I went back on set to watch and interview Snuffy and Telly's Muppeteer Martin Robinson.  While observing Martin in action (from inside of Mr. Hooper's store, no less!), I met Kevin Clash's right hand hand, storyboard designer, and SuperGrover float creator Louis Henry Mitchell.

Most recently, I got to do some Q&Awith Annie Evans, Sesame writer and also wife of Martin Robinson.  (They got married on the set!)  And then went to Elmo's birthday party to help him celebrate 3.5 years!

I feel so grateful to have met all these amazing people and look forward to more Sesame adventures.

If you have a Sesame cast or crew member you would like me to interview, drop at line at ETraubman@aol.com

Here are the posts about all the folks mentioned above:

Meet Kevin Clash, The Man Behind Elmo

Louis Henry Mitchell: The Art of Sesame Street

Annie Evans: Wordsmith of Sesame Street

The Life and Times of Sesame Street’s Martin Robinson

Fran Brill: The First Lady of Sesame Street

From Muppets to Mascots: The Incredible Journey of Bonnie Erickson

Frank Biondo:  The Mayor of Sesame Street

Letters to Big Bird

Louis Henry Mitchell: Sesame Street’s Storyboard Master

A REPORT BACK FROM MOMI'S SESAME STREET: THE PARODIES

This year, Sesame Street turned 45 and so did I.  To celebrate, I went this past weekend to The Museum of the Moving Image in Queens to see Sesame Street: The Parodies.  It was a generous, 90-minute long compilation of clips of Sesame's version of movies, songs, and television shows.  Many thanks to Craig Shemin, President of the Jim Henson Legacy and a former Jim Henson Company staff writer, for creating this awesome set of clips. (More info about Craig here.)

Here's a punch list of some of the reel's highlights:

• Lovable characters spoof game shows such as Family Food and Squeal of Fortune.
• Sesame Street Muppets joins forces with R.E.M. to sing Shiny Furry Monsters
• A grand Sesame cast spoofs a film classic, and features characters such as Only One Cannoli in Star S'mores 
• Cookie works hard to solve a mystery on Twin Beaks.
• Everything is upside town on Upside Downton Abbey.
• Paul Taylor serenades Oscar the Grouch.
• Muppets pays respects to Madonna in Cereal Girl.
• Billy Idol sings with a Rebel L.
• Monsterpiece Theater features the lovable, silk smoking jacket-clad Alistair Cookie.
• Billy Joel and Marlee Maitlin sing a loving Just the Way You Are to the resistant Oscar.
• Tony Bennett celebrates a worm's trip into space by singing Slimey to the Moon.

3 Ways To Continue the Fun....

1. If you'd like more Sesame adventures, come check out the exhibition Somebody Come and Play: 45 Years of Sesame Street currently on view at The New York Public Library for the Performing Arts at Lincoln Center.

 

2. Keep checking back with the Museum of the Moving Image website for the highly-antipated 2015 opening of The Jim Henson Exhibition and Gallery. 

 

3. Check out other Sesame-related posts from Creative Times:

• Louis Henry Mitchell: The Art of Sesame Street
• Annie Evans: Wordsmith of Sesame Street
• The Life and Times of Sesame Street’s Martin Robinson
• Fran Brill: The First Lady of Sesame Street
• From Muppets to Mascots: The Incredible Journey of Bonnie Erickson
• Frank Biando:  The Mayor of Sesame Street
• Letters to Big Bird
• Louis Henry Mitchell: Sesame Street’s Storyboard Master

THE BAKER'S DOZEN: SOME OF THE MOST-VISITED POSTS IN CREATIVE TIMES HISTORY

1. Meet Kevin Clash, The Man Behind Elmo
2. Taja Riley, Rising Dance Star
3. A Historical Tribute To Jim Henson's Musical World at Carnegie Hall
4. Mike Sorgatz Paintings in HBO's Girls
5. Let the Games Begin: Royal Palms Shuffle Board Club in Brooklyn
6. What Would Make the World A Better Place for Women and Girls?
7. Isaac and Marcus Talk "Yes, Chef" At Powerhouse Arena
8. A Clear-Cut Space for Women in Hip Hop
9. Q and A with Benjamin Meadows-Ingram, Founding Editor of a Brand New Mag Called Brooklyn Bound
10. Private Zine Collection and Girard's Artwork at Bright Lyons
11. Jason Samuels Smith and a Walk Down Tap Dance Memory Lane
12. A Beautiful Day on the Set of a Sesame Street Photo Shoot
13. From Muppets to Mascots: The Incredible Journey of Bonnie Erickson

ALL THINGS SESAME STREET

Over the past four years, I have had the honor of interviewing a group of long-time cast, crew, and writers from the cultural juggernaut that is Sesame Street.  It started with an in-person Q&A with Elmo Muppeteer and Sesame Co-Producer Kevin Clash. 

Kevin suggested I also talk to cameraman Frank Biondo, who has been with Sesame from the get-go, as well as Fran Brill.  You may know Fran as Zoe and, starting from way back when, Prairie Dawn.

While on the set with Frank, I also got to meet Big Bird Muppeteer Carroll Spinney, as well as a young person who started writing letters to Carroll at age five. 

What a  treat to meet Bonnie Erickson, who used to work for Sesame and who also created Ms. Piggy, Statler, Waldorf, and other iconic Muppets, to find out her life story.

I went back on set to watch and interview Snuffy and Telly's Muppeteer Martin Robinson.  While observing Martin in action (from inside of Mr. Hooper's store, no less!), I met Kevin Clash's right hand hand, storyboard designer, and SuperGrover float creator Louis Henry Mitchell.

Most recently, I got to do some Q&Awith Annie Evans, Sesame writer and also wife of Martin Robinson.  (They got married on the set!)  And then went to Elmo's birthday party to help him celebrate 3.5 years!

I feel so grateful to have met all these amazing people and look forward to more Sesame adventures.

If you have a Sesame cast or crew member you would like me to interview, drop at line at ETraubman@aol.com

Here are the posts about all the folks mentioned above:

Meet Kevin Clash, The Man Behind Elmo

Louis Henry Mitchell: The Art of Sesame Street

Annie Evans: Wordsmith of Sesame Street

The Life and Times of Sesame Street’s Martin Robinson

Fran Brill: The First Lady of Sesame Street

From Muppets to Mascots: The Incredible Journey of Bonnie Erickson

Frank Biondo:  The Mayor of Sesame Street

Letters to Big Bird

Louis Henry Mitchell: Sesame Street’s Storyboard Master

LOUIS HENRY MITCHELL: THE ART OF SESAME STREET

When Louis Henry Mitchell and I come out of watching archival footage of Jim Henson's television appearances as himself and as various Muppet characters, I ask Louis what he is thinking about.

"I never met him," replies Louis, referring to Jim Henson. "I've met his friends and family. I wish we could have met."

Still, Louis feels grateful that, as Sesame's Associate Design Director of Special Projects, he gets to "influence what Jim considered to be his [Jim's] most important work, and the work of someone [Henson] whose work is so important to me."

Louis' connection to Henson goes all the way back to his own youth, when he saw the Muppets on The Ed Sullivan Show and then watched Jim Henson come out from behind the scenes to shake Mr. Sullivan's hand.

"Seeing Jim Henson on tv triggered something in me," Louis reflects. "I thought if a man was doing that, maybe I could do that, too."

Years later, as an adult, Louis submitted his portfolio multiple times to the Muppet headquarters in Manhattan. After eight months of delivering his work, he was hired by Jim Mahon, a man who would become his Muppets mentor. From there, Louis quickly became a top licensing artist, creating art for many Sesame products. It has now been twenty years since Louis was brought on board the Sesame crew.

One of the challenges of Louis' work is "to keep growing in it, and not just relax in it." Along those lines, Louis feels it's important to remind the folks at Sesame Workshop that "It's about education and an art form, not just [about] business. [...] History means so much to me. I don't let it become a commercial venture. Everything should point back to the curriculum. Ultimately, for me, it is about the children."

When I ask Louis to expand on what he sees as being his unique contribution to Sesame, he has this to say:

"I keep everyone thinking like children, to not lose sight of who the work is for. We have a sacred mission to reach out to children, to families around the world. It's a sacred trust. We have to keep things interesting without resorting to sensationalism. I see this as not just a job, but a mission."

And with a show that claims such longevity (Sesame is now entering into its 43rd season), how does Louis find a balance between innovation and tradition?

"It's really about how things blend and grow together," reflects Louis. "History is influenced by technology. Innovation looks back and respects history. You don't forget where you came from."

One place where Louis himself has balanced, in a literal sense, that respect for both history and
technology is in his job of overseeing the making of the Sesame balloons for the Macy's Thanksgiving Day Parade in New York City. For this special event that is witnessed annually around the globe, Louis has supervised the construction of both the Super Grover and Big Bird balloons as well as the float that the actors and Muppets ride on through the parade.

As Louis explains: "Aerodynamics and physics are incorporated into the design. More cables were needed for Big Bird, causing him to have a bigger than usual head and shorter- and smaller-than-usual legs. I resculpted the balloon to give it more balance and everyone was happy."

Louis brings leadership to other Sesame initiatives as well. Product managers consult with him about decisions around characters, like what phrases and slogans they (the characters) should use on toys and other various products. Louis has also been the one to answer letters which children write to Sesame characters.

Louis' advice for other people who want to make a living from their craft?

"Discover what is in your heart and let it speak to you. Who are you here to be and what are you here to do? It's all about discovery. Once you find out what that is, do not hesitate or you will block the flow. Give it all you got."

THE LIFE AND TIMES OF SESAME STREET'S MARTIN ROBINSON

Do you know who Martin Robinson is? If not, you should! For the last 30 years, he has been performing some well-loved characters on Sesame Street, including Telly Monster, Snuffleupagus, and Slimey. In addition, Marty teams with his wife and Sesame writer Annie Evans to create the Sesame Family Robinson blog for the Sesame Workshop website. On top of that, Marty hires and trains puppeteers for Sesame Street productions all around the world.

Wait! That’s not all! Check out his website, and you’ll find that the fantastic Mr. Robinson is also a puppet designer and builder for shows like Little Shop of Horrors. Take a look at Martin’s resume, and you’ll see that he “Designed and performed a giant carnivorous plant that rose 22 feet into the air, panned 40 feet, and flew over the fifth row of the Virginia Theatre.” For a Lincoln Center production of Frogs, he “Designed and built a giant frog that ate Nathan Lane.”

The Road to Puppeteering
For Martin, who was a shy kid, there were a couple of pivotal events that led him to his love affair with performing and related forms of artistry. First, there was Halloween. Halloween was performance time, the time where there was permission to look and act differently from everyday life. He designed his costume and thought about the character he would play months in advance of the big day. “It was too much fun to do that kind of thing one day of year,” notes Martin. So theater became a way to extend that opportunity to be something else other than his everyday self.

The other important moment in time came about when Martin’s school held auditions for the school performance of Oliver. Martin’s art teacher saw something in him, believed in him, and actually refused to do the sets for the play unless Martin was offered the part of Fagin. Being Fagin opened up a whole new world for Martin, and from that moment on, he knew that performing was “it” for him.

After high school, Martin left his hometown in Wisconsin to attend acting school at The American Academy of Dramatic Arts. Next, in 1975, Martin toured as a puppeteer with Nicolo Marionettes, now knows as Puppetworks, Inc. In 1977, Martin performed for six months in Busch Gardens, Virginia, with Baird Marionettes, and from there continued working with Bil Baird in New York City.

The experience with Baird allowed Martin to see puppets as “moving sculptures” and view puppetry as a combination of design, sculpture, and acting. As a puppeteer, Martin experienced a kind of freedom in not being limited by his physical body (think about it: actors are often cast based on their appearance); thus, his dream of getting to play “crazy character roles” was realized.

Highlights and Challenges of being a Puppeteer
According to Martin, the blessing of being a puppeteer lies in the many opportunities to have fun, laugh, and clown around. (Having watched Martin behind the scenes, I got to witness first-hand how he capitalizes on those opportunities: the guy has a wicked sense of humor that keeps Sesame cast and crew cracking up!)

Martin is clear that it’s a difficult profession, as well. First, you have to be able to handle a lot of pressure to keep performing at a certain level, to produce results in such an on-demand way. You have to have a particular level of acting abilities to respond to other characters in the moment. (These folks rehearse the same scene over and over and over to match Sesame’s high production standards.) “To perform a character well,” shares Martin, “you have to be outside the character – outside, looking in”. There is also a technical challenge that puppeteers face: while they are performing, they must track their actions by looking into a monitor!

How does Martin meet these challenges? Long time Sesame puppeteer Fran Brill and co-worker to Martin sheds some light on this question:

“Marty Robinson is one of the most positive people I know. I don't think I've ever heard him say ‘No’ (at least on the set of Sesame Street) or complain. If a director asked Marty to puppeteer upside down inside of Snuffy while blowing up a balloon and singing The Star Spangled Banner in Lithuanian, he'd say ‘I'll try.’

Marty is also a very generous performer- everyone loves to work with him because he gives his all, really listens, and makes you look good. He is kind, loving, and tremendous fun to be around because he is really outrageous with Telly. He makes us all laugh and gives 100% of himself when performing.”

Training and Filming and Writing
Martin’s responsibilities with Sesame transcend national borders as well as artistic medium: he is often sent overseas to train puppeteers for Sesame Street in other countries. In this role, Martin teaches puppeteers to collaborate with the camera as well as with the director. “I teach the puppeteers that we are composing the frame with the director,” he explains.

Martin also brings his skills as a filmmaker to the Sesame operation. With his wife, Annie Evans, whom he married on the set of the show, he shares his behind-the-scene experiences as a parent and as a puppeteer through movies and stories on the Sesame Family Robinson blog. As Martin and Annie explain to their readers, “[…] we’ve created this blog to share our journey as parents trying to raise our daughters with love and playfulness, while also being deeply committed to a television show that seeks to educate and empower children all over the world.”

Martin on Going After Your Dreams
According to Martin, we all have dreams as children. It’s important to look at those dreams, figure out what is at the heart of them, and then pursue whatever that essence is. Martin is well aware that he knew from an early age what made his heart sing. And that whenever confronted with a decision about an opportunity that came his way, he would always base his decision on a commitment to follow his bliss.

“We give up on our dreams way too easily,” says Martin. “There is no reason why you can’t really love what you do. There is nobility in almost anything. Don’t wait until retirement to start your life. The key is doing what you love, and loving what you do. Everyone has the ability to guide their life in a way that makes them happy.”

LOUIS HENRY MITCHELL: SESAME STREET'S STORYBOARD MASTER

The Big Dream of working for Sesame Street Part 1 from The Spiritstorm School on Vimeo.

When I visit the set of Sesame Street, there's the story or interview I came to get and then there's the unexpected story I walk away with. Take, for example, when I went on set to interview long-time cameraman Frank Biando and ended up also meeting Big Bird's performer Carroll Spinney and Justin, the (then) pre-teen who had met Carroll because of the many letters he had written to Mr. Spinney starting at age 5.

Last week, I was on set to watch in action and interview long-time Sesame puppeteer Marty Robinson (stay tuned for the post about him!). A ways into the shoot, I was invited to come sit at the counter in Mr. Hooper's store to get a better view of the puppeteers. Sitting on the stools beside me were a man and a woman. The man was doing sketches of scenes with Sesame characters. Intrigued, I struck up a conversation.

Turns out the man was Louis Henry Mitchell, Sesame's Associate Design Director of Special Projects. He was sitting next to his wife, Jackie. Turns out they just got married!

Here are some of the interesting and amazing things that Louis does and did for Sesame:

* Create storyboards the for production of Sesame Street
* Design video covers for all new titles
* Designed the Planetarium Project for the Museum of Natural History
* Design Sesame Street Google Doodle
* Design and install Brooklyn Library Sesame Street Muppet Exhibit
* Design Macy's Thanksgiving Day Parade float and two of the previous balloons, Big Bird and Super Grover
* Create gift portraits including a special gift for Vice President Joe Biden and wife, Dr. Jill Biden with the Sesame Street Muppets.
* Teach and train artists all over the world how to draw the Sesame Street Muppets through the Muppets' personalities

P.S. - There is a series of wonderful interviews with Louis on The Muppet Mindset: Part I * Part II * Part III * Part IV

ALL KINDSA CRAZY COOL STUFF AT JIM HENSON'S FANTASTIC WORLD

Last Saturday, I made my first venture out to the Museum of the Moving Image in Queens (actually, right by where they film Sesame Street) to see the new exhibit called Jim Henson's Fantastic World.

One thing I liked about the exhibit was that it featured many of the sketches Jim created, the sketches that were the groundwork for his commercials, Muppets, films, and television shows. I appreciated that the show revealed the creative process behind the final product. With everything so computer-generated in today's world, there's something so reassuring about seeing pencil and pen drawings that come straight from the artist's mind.

During my visit to MOMI, I had the pleasure of attending "Hands Up! Puppets Down!": An Inside Look at Puppetry for Television. Writer/producer Craig Shemin and veteran Sesame Street puppeteer and wrangler Lara MacLean shared behind-the-scenes footage and live demonstration to show how puppetry magic is created for television.

Great fun was seeing the Muppet which Craig's wife and Sesame Street performer Stephanie D'Abruzzo had created in Craig's image. Craig and Lara together were a great team.

They fielded questions from Muppet fans in the audience who ranged greatly in age. Like Star Wars, the Muppet shows and movies have a fan base that spans generations. One young person in the audience asked "Is it true that Tim Burton was a Muppeteer in a scene from one of the Muppet Movies?" Craig confirmed that yes, it is true. Wow, how do people get their hands on this info?!?!?

Click HERE for the full list of Henson-related workshops and screenings. Be sure to note that some events require advance ticket purchase to guarantee a seat.

Here are two that I am particularly excited about:

* September 18 at 4 pm: An Afternoon with Jane Henson: "Look Both Ways and Go"

* September 24 and 25 at 1:00 pm: Muppet Music Moments: A Weekend Celebration of Jim Henson's Birthday (Jim would have been 75 on the 24th)

Photo of Lara MacLean from Muppet Wiki

HIGHLIGHTS FROM BAM'S SESAME STREET FILM CELEBRATION

I was so excited to find out that the Brooklyn Academy of Music was hosting Sesame Street: A Celebration! - "A weekend of films and clips celebrating 40 years of Sesame Street."

I had been looking for a way to participate in the celebration, and this was just perfect. I set aside two full evenings to attend four of the films, and here are some of the highlights of the event:

• First of all, I scored this awesome Alex Ross Super Grover litho (pictured above) along with the book It's Not Easy Being Green by anwering some Sesame Street trivia questions thrown out to film audiences by the event's co-programmer, Craig Shemin. Craig and his wife, Stephanie D'Abruzzo, opened each of the four films I attended by joking around with the audience and providing some nice inside scoops on the films. They were naturals for the job, as Craig is a Muppet historian and Vice President of the Jim Henson Legacy. Stephanie is a Sesame Street puppeteer, as well as a an Emmy-nominated Avenue Q performer.

• The World According to Sesame Street was an amazing documentary directed by Linda Goldstein Knowlton & Linda Hawkins. These two women traveled around the world to show how people bring Sesame into countries around the globe, including Bangladesh, Kosovo, and South Africa.. What I learned is that each country goes through a process of figuring out what content and characters will best work for their particular culture. One of my favorite scenes was of a master puppet-maker in Bangladesh staying up in until the wee hours of the morning to create a character in time to start shooting the show there.

• Next up, Jim Henson and Friends: Inside the Sesame Street Vault was Craig Shemin's compilation of Jim Henson and other star Muppeteers' (along with the Muppets themselves) appearances on talk and variety shows from the 1970s.
  
  
• Sunday night's first feature was Sesame Street at 40: Milestones from The Street. This gem showed lots of highlights from the show's history, including the very touching treatment of Mr. Hooper's death as well as the marriage of two of the show's human characters. Elmo was the ring bearer - of course!
  
  
• Lastly - and what a great way to end the weekend - was Sunday's Sing! Sesame Musical Moments - a compilation of Sesame's musical numbers. My favorite pieces were the ones from the disco era - "Me shaggy, me blue, me know how to groove.....................Cookie!" - and Pre School Musical, a spin off on High School Musical wherein the Troy-like Muppet espouses the supremacy of the block corner while the Gabrielle-like Muppet argues that the dress-up area actually rules. I had never seen that piece before and could not stop laughing!
  
  
• Other highlights included a special guest appearance by Bob McGrath, a beautiful singer and long-time Sesame cast member. I also had a nice chat with audience member Bonnie Erickson, who was part of the original design team for The Muppet Show and also Creative Director of the Product Division of Children's Television Workshop.

CHECK OUT BAM'S SESAME STREET FILM FESTIVAL!

Did you know that Sesame Street is celebrating its 40th anniversary?

Would you like to participate in this momentous occasion?

Come out out to the Brooklyn Academy of Music's BAM Rose Cinema next weekend. On Saturday, December 12 and Sunday December 13, they will be showing a series of Sesame-related films, most of which are 90 minutes long.

Click HERE for the Calendar, then click on "12" to view Saturday's films, and then "13" to view Sunday's films.

If you're someone who likes the "insider scoop," make sure to get tix to the 6:50 Saturday show of The World According to Sesame Street. It's followed by a Q & A session with the directors.

FRANK BIONDO: MAYOR OF SESAME STREET

How I Got to Frank

I’m about to finish conducting my interview with Kevin Clash, longtime Muppeteer of Elmo and a Co-Producer of Sesame Street. “You know who you should interview next?” Kevin says. “Franky. Frank Biondo. He’s the cameraman on Sesame Street and even though he’s behind the scenes, he shapes the mood and the feeling on the set.”

So I call Frank and he tells me he’s filming a show, not Sesame Street, but a special offshoot, When Parents Are Deployed. He’s going to be at the Unitel Building on West 57th Street. Could I come up there while he’s filming to watch and to talk? “Sure thing,” I say. How could I pass up a chance to see Frank and Muppeteers in action? I’ve only dreamed of this moment since I was six years old.
I get to the Unitel Building and wind my way back to where they’re filming. Kevin Clash is there, directing and also playing Elmo, and Fran Brill is playing Elmo’s mom. Costume folks are stitching up Muppets and their outfits, and other folks are painting and repairing sets. Frank’s filming and within minutes of our first interaction, I can see why he is known as The Mayor. He greets me warmly, and, in between takes, he comes to the back of the stage where I am standing to chat with me about his work and personal history. He is warm, funny, engaging, talkative, totally unpretentious. He starts in right away with the beginning…..

How Frank Got to Sesame Street
Once upon a time, cameraman Frank Biondo was used to filming big names in show business – Barbara Streisand and Merv Griffin, to name a few. Imagine his shock when he found himself filming, in his own words, “A freakin’ eight-foot bird” and “an orange Muppet in a garbage can.” It was the late 60s and Frank had been brought on set to film the pilot of a new television show after the original filming company had gone on strike.

The show was Sesame Street, and no one knew just how big the show was going to be, including Frank. According to Mr. Biando, the early incarnations of Sesame Street characters were not so great-looking. “Big bird looked a lot different then. His head was whacked out.” Frank was filming these funky-looking characters, wondering “Who in the world is going to watch this stuff?” Thirty-nine years later, working for a show that is televised in 120- plus countries, he has his answer.
How Frank Got Elected to Mayor
Frank has met a lot of creative people in the course of his 39 years of work on the most famous street in the world. He’s interacted and cooperated with thousands of production people, directors, actors, and Muppeteers. But to Frank, those thousands are not just a sea of nameless faces; they are faces with stories and Frank loves to tell their stories. And that’s why Frank is Mayor of Sesame Street: because he uses story-telling to keep the history of the show alive, to weave the moments and the people from past and present together.Frank is Mayor, too, because he is the one that comes up with the “crazy ideas” that keep people on the set connected to one another. One time, he got cast and crew to bring in baby pictures and guess who was who. He has organized wrap parties where the cast members got to show off their various talents. He created Frankly, Frankly Have I Got a Deal for You – a newsletter for people who work on the show. Frankly was a home-grown publication that included recipes, classified ads, jokes of the week, and letters from the show’s Executive Director. Frank also helped start a nonprofit organization called Make a Kid Smile. With Elmo dolls in tow, he and his family members visit and brighten the days of children hospitalized with serious illnesses.

Where Did Frank Come From?

Having spent his youth surrounded by lots of relatives, it’s not surprising that Frank knows how to create a sense of family among a sizable group of people. He was the eldest of 16 grandchildren and named after a grandfather who came to the U.S. from Sicily. Frank remembers that his grandpa -- a father of nine -- smoked cigars, used a spittoon, made his own wine, and always paid home visits to grandchildren when they were sick. Frank’s grandmother made Sicilian pizza every Sunday night for the entire family.

Frank remembers another part of growing up: dancing. He’d go to church dances, where he did the Cha Cha, the Mambo, and the Lindy. After joining the US Navy at 17, he taught dance classes in the USO in exchange for meals. In his present day life, Frank liked to dance out in Long Island. He describes himself as “a 50s dancer who dances to live band music.” If there’s a dance he doesn’t know, Frank makes a point of learning it. Not long ago, he went and took lessons to learn how to do the Hustle.
It’s A Wrap
After the shoot is done, Frank invites me to have lunch with him and the crew. He and some of his co-workers start telling funny stories about their years together on set and teasing each other good-naturedly about challenging times they’ve gone through. Chuck, one of Frank’s longest-time buddies there, remembers when the two of them set off together to film the Daytona 500, each being assigned to catch the race from a different angle.

After they've reminisced for a while, I say to Chuck and Frank: “You two have seen a lot.” Frank’s reply? “If we died now, we wouldn’t have missed much.” It’s so clear that Frank’s a man who feels full, full and grateful for all the people and stories and Muppets and children and actors whose lives he has been part of over the last four decades. And I realize that Sesame Street would be a very different place without him.

Labels: Frank Biando, Sesame Street

IN HONOR OF SESAME STREET'S 40TH YEAR: REPRINT OF KEVIN CLASH INTERVIEW

Originally posted on Friday, July 27, 2007

During a recent family vacation in an island off the coast of Seattle, I spent a lot of time playing with my nephew, Tyler. Tyler is two years and 4 months old. He loves to greet every person who comes in the room, jump on his older brother, and look at picture books. He is full of passion for life. When I play with Tyler, I follow his lead as much as possible. One evening, I sat quietly with Tyler as he lined up crayons next to each other and drew circles of all colors and sizes. One morning at the beach, I held Tyler’s hand as he walked in and out of the water, looking at the waves, the light, the skim boarders at water’s edge. Once in a while, Tyler would let out a shriek of delight accompanied by a joyful leap. Mostly, though, he wanted just to walk and look. I stayed with him as he did that for about a half an hour.

I can think of few activities more rewarding or important than to follow a young person’s mind. It does take a conscious decision to not insert my idea of how things should go. There’s always a pull to worry about how a child is going to “turn out,” and direct him or her to activities that will (seemingly) ensure success in the future as a “productive” or “well adjusted” adult. But I have a hunch that if we adults spent more time following the creative minds and pursuits of young people, more humans would have lives that they are truly passionate about. Kevin Clash is the proof in the pudding.

Kevin Clash is the puppeteer behind Elmo, the lovable, furry red muppet who has won the hearts of millions on Sesame Street. I gathered information about Kevin by reading his book – My Life as a Furry Red Monster – and by meeting him in person at his Sesame Workshop office. Most inspiring was learning the details about a life of love and support from family, friends, neighbors, and mentors who backed Kevin’s passion for puppetry from the start. Kevin’s rich history as a producer and puppeteer shows that good things happen when adults pay close attention to and nurture the creative and artistic sensibilities of children.

Kevin’s Life in a Nutshell
Kevin grew up in a working class, African heritage suburb of Baltimore, Maryland with a mom, a dad, and three siblings. He spent countless childhood hours creating puppets and puppet shows, getting plenty of inspiration from television programs such as Captain Kangaroo, Good Times, and, of course, Sesame Street. During his younger years, Kevin performed shows for neighborhood folks, for audiences in the wider Baltimore area, then for local television programs.

Like other children who do something off the beaten path, Kevin got a dose of teasing and raised eyebrows. He also experienced the insidious messages of racism. Fortunately, the love and support he got from his family and community balanced out forces that may have otherwise swayed Kevin from his path. As Kevin says in his book, “Society was still sending a loud message that black children like us didn’t have much to aspire to, but that negative talk was drowned out by our parents, who taught us that our dreams were worthy simply because they were ours.”

Gladys and George Clash operated as a team to back their son’s passion. They kept Kevin well-stocked with art supplies and fabrics; took him to his first gigs as a performer; drove him to hobby shops; and connected Kevin to professionals who would help him along his career path. Kevin also has vivid memories of what each parent did individually to support him. George, a flash welder and neighborhood handyman, helped Kevin build puppet stages out of salvaged scrap wood. He also kept his cool when Kevin used his (George’s) furry church coat to fashion a puppet named Moandy, responding to the discovery of his cut-up coat with a firm yet kind: “Next time, ask.” Gladys, a home-based daycare worker, was a talented seamstress who taught Kevin to sew on her old Singer machine. She was also the one who helped Kevin land one of his first big breaks by connecting him with Kermit Love, a man who would become one of Kevin’s key mentors.

When Kevin was in high school, he saw Kermit Love featured on an episode of Call It Macaroni, a children’s television show. Kevin was blown away by the fact that an adult was making a successful living from his passion – designing costumes and puppets for everyone from George Balanchine’s dancers to Sesame Street’s Big Bird. Through perseverance, Gladys got in touch with Love who in turn invited Kevin to come to his workshop in New York City. Shortly after that visit, Kermit invited Kevin to be Cookie Monster’s puppeteer in the 1979 Macys Thanksgiving Day Parade.

In the 1980s, Kevin became a puppeteer for Sesame Street and also participated in a number of Jim Henson productions. In addition to winning the hearts of millions as Elmo on Sesame Street, Kevin has won multiple awards for his work as co-executive producer of Elmo’s World.

Kevin on Mentoring

In reflecting on the trajectory of his life, Kevin is clear that mentoring and other forms of support have been key to his success. He also recognizes that support can mean space and freedom and it can also mean the kind of tough-love guidance that keeps a person grounded. Kevin acknowledges that he has relied on others to keep him rooted in a life of integrity. Said Kevin during our chat at Sesame Workshop, “Stardom stinks if you don’t have people telling you the truth. You need people who teach you that there are rules to abide by if you want to keep being a success with family and with business.” Kevin fondly described several of the mentors who did help him grow as an artist through truth-telling; these folks include Stu Kerr, Kermit Love, and Jim Henson.

Stu Kerr, a television personality, was Kevin’s first mentor. When Stu saw Kevin’s puppetry at a local fair, he invited Kevin to perform in a television show called Caboose. Through Caboose, Kevin eventually landed a spot on Captain Kangaroo. Kevin credits Stu with teaching him about the importance of cooperation in working with other professionals, both from the creative and business aspect of things.

Speaking about costume and puppet designer Kermit Love, Kevin commented: “He took me under his wing like I was a grandson. He was so positive, guiding me in the right direction. When the time came to decide to go to college, he encouraged me to stay working with Jim Henson.”

And, finally, Kevin said of Jim Henson: “Jim was so approachable; there was no ego. Jim’s message was ‘Let’s have a good time and respect each other and give back.’ With Jim, you learned the craft by watching and by doing. It was intimidating to be the new kid on the set and Jim stuck with me.”

Kevin has been blessed with the sound guidance of these three and countless other guides. He also knows, particularly from his childhood days, that adults must step back enough to trust the rightness of what children love to do and want to pursue. On the topic of supporting young people in their journeys, Kevin says this in his book:

“You can teach your children all the basics and then some, and they will turn right around and use their knowledge in wonderful, powerful ways you can’t even imagine. That’s the beauty of learning. But it can be hard to resist pulling on the reins and, at some point, steering kids away from what they want to learn to what you think they need to know to be successful. […]

Dreams are fragile things, but when they’ve been bolstered by the support of parents and teachers, and reinforced with early success, they can withstand the skeptics and take flight. When I was a kid, my dad and I spent a lot of time together building things, and I can’t help but think of this metaphor: Kids are the architects of their own dreams. I know that I was.”

MURRAY AND LAMB VISIT IRISH DANCING SCHOOL

BURT AND ERNIE, JIM AND FRANK

I think about Jim Henson a lot. I feel his spirit around me. And I miss him. I love this photo of Jim playing Ernie and Frank Oz playing Burt. (Not sure who is playing Ernie's right hand.)

If you love Sesame Street and the Muppets, check out these other posts I've done based on in-person interviews and an in-person visit on the set of Sesame Street:

• Meet Kevin Clash, The Man Behind Elmo
• Frank Biando: The Mayor of Sesame Street
• Letters to Big Bird
• A Tribute to Jim Henson and the Muppets

ISAAC HAYES, ANDY WARHOL, AND SESAME STREET

Reprinted from February, 2008

While watching this year's Academy Awards, I caught a fleeting glimpse of footage from when Isaac Hayes performed the theme song from Shaft during the Oscars way back in '71. I could see that he was accompanied by dancers, and right then I decided I wanted to see the entirety of that footage.

So yesterday I journeyed to The Paley Center for Media (originally the Museum of Radio and Television) on 52nd Street. I elevatored up to the 4th floor and hopped onto their database to find the 1971 Oscars. The listing appeared as "Tape 1 of 3" and also said in brackets "Warhol Vintage Television." The running of time was listed as 28 minutes and 55 seconds. That seemed odd, given that the Oscars last for 3 to 4 hours. The guy at the help desk was tied up on the phone so I figured what the heck, I'll just go down to a screening booth and see what this is all about.

So down I went to the screening room and entered the program's code. What it turned out to be was this: Andy Warhol had set up a tripod and filmed the Oscars from his own home. So the program alternated between his shots of the show and shots of his friends lounging around while watching the show. In the backdrop were Andy's continuous and barely-audible comments about everything on the Oscars.

When Isaac Hayes came on the Oscars, Andy did catch it on film and made his running commentary. To me, it was an irritating blur of images, music, Isaac's voice, and Andy's voice. So I snapped it off and ran back up to the database room to find something else.I entered "Jim Henson" and "Muppett Show" and scrolled down 'till I found a vintage episode of Sesame Street which featured Lena Horne, The Globetrotters, and Stevie Wonder. Yay!

Back downstairs, I got to see a full commercial-free hour of Sesame Street Episode 536 when Maria and Luis were young adults, when Snuffy was still on the show, and when the pace of the slow was much, much slower.

After watching Sesame Street, I went back down to the lobby of the Paley Center to see a wall and video exhibit about women who have helped to shape the history of media. She Made It: Women Creating Television and Radio "celebrates the achievements and preserves the legacy of great women writers, directors, producers, journalists, sportscasters, and executives."

My adventure led me from the 80th Annual Academy Awards to Isaac Hayes to Andy Warhol to Sesame Street to Women Creating Television and Radio. I love how living in New York makes these kinds of adventures possible.

LETTERS TO BIG BIRD

By the time Weston Long was five years old, he had watched so many Sesame Street television episodes and video specials that he knew how to count in multiple languages -- Japanese, Chinese, and Spanish included. A big reason for Weston’s loyalty to Sesame was his love for a particular character on the show. “He was enamored with Big Bird,” shared Weston’s mom, Jill.

When Weston was five, he started writing letters to Big Bird. He wrote up to two letters a day, and his mom confessed that she mailed a few but put most of them in the garbage. After all, she didn’t want to inundate Big Bird - aka Caroll Spinney – with mail.

But unbeknownst to Mom, her son was salvaging those letters and putting them into the mailbox himself. When Weston was six, he received a personal invitation from Mr. Spinney to come visit him on the set of Sesame Street. That visit was followed by subsequent ones and was interspersed with a few visits to Caroll’s home. “Caroll also sends him old photographs and other publicity materials from the early days of Big Bird,” said Jill.

Weston, who is now 12, has been mentored by Mr. Spinney for six years. “Caroll said that he saw a lot of himself in Weston,” said Jill. Caroll, like Weston, took an interest in puppets and theater at a very early age. Caroll confirmed this fact when he approached me, Weston, and Jill after completing his first shoot of the day on the set of Sesame out in Astoria, Queens. Caroll, totally fit and energized at the age of 75, told me that he was five then he first started doing puppet shows. His mom, an artist, sewed the puppets he used.

It was obvious that Weston knew Caroll well. As Caroll proceeded to talk about his history as a performer, Weston would sometimes complete Caroll’s sentences. Both Weston and his mom were obviously happy to have Caroll as a mentor. Jill let me know that Weston came from a family of athletes, including herself, her husband, and her three other children. Weston, however, had always been interested in puppetry, theater, and dancing. Bringing her son to the set of Sesame and supporting his friendship with Caroll is one of the ways she had figured out to nurture Weston’s interests.

Big Bird, Caroll Spinney, is one of television’s biggest stars. He has reached hundreds of millions of adults and children over these past 40 years. I like the fact that he has taken time out over these last six years to nurture the dreams of a single young person who shares his love of performing. With Caroll’s support, Weston has a good shot at sustaining and realizing his dream of a career in theater.

It was just another day on Sesame Street and I'm glad I got to drop by.

FRANK BIONDO: MAYOR OF SESAME STREET

How I Got to Frank

I’m about to finish conducting my interview with Kevin Clash, longtime Muppeteer of Elmo and a Co-Producer of Sesame Street. “You know who you should interview next?” Kevin says. “Franky. Frank Biondo. He’s the cameraman on Sesame Street and even though he’s behind the scenes, he shapes the mood and the feeling on the set.”

So I call Frank and he tells me he’s filming a show, not Sesame Street, but a special offshoot, When Parents Are Deployed. He’s going to be at the Unitel Building on West 57th Street. Could I come up there while he’s filming to watch and to talk? “Sure thing,” I say. How could I pass up a chance to see Frank and Muppeteers in action? I’ve only dreamed of this moment since I was six years old.

I get to the Unitel Building and wind my way back to where they’re filming. Kevin Clash is there, directing and also playing Elmo, and Fran Brill is playing Elmo’s mom. Costume folks are stitching up Muppets and their outfits, and other folks are painting and repairing sets. Frank’s filming and within minutes of our first interaction, I can see why he is known as The Mayor. He greets me warmly, and, in between takes, he comes to the back of the stage where I am standing to chat with me about his work and personal history. He is warm, funny, engaging, talkative, totally unpretentious. He starts in right away with the beginning…..

How Frank Got to Sesame Street
Once upon a time, cameraman Frank Biondo was used to filming big names in show business – Barbara Streisand and Merv Griffin, to name a few. Imagine his shock when he found himself filming, in his own words, “A freakin’ eight-foot bird” and “an orange Muppet in a garbage can.” It was the late 60s and Frank had been brought on set to film the pilot of a new television show after the original filming company had gone on strike.

The show was Sesame Street, and no one knew just how big the show was going to be, including Frank. According to Mr. Biando, the early incarnations of Sesame Street characters were not so great-looking. “Big bird looked a lot different then. His head was whacked out.” Frank was filming these funky-looking characters, wondering “Who in the world is going to watch this stuff?” Thirty-nine years later, working for a show that is televised in 120- plus countries, he has his answer.

How Frank Got Elected to MayorFrank has met a lot of creative people in the course of his 39 years of work on the most famous street in the world. He’s interacted and cooperated with thousands of production people, directors, actors, and Muppeteers. But to Frank, those thousands are not just a sea of nameless faces; they are faces with stories and Frank loves to tell their stories. And that’s why Frank is Mayor of Sesame Street: because he uses story-telling to keep the history of the show alive, to weave the moments and the people from past and present together.

Frank is Mayor, too, because he is the one that comes up with the “crazy ideas” that keep people on the set connected to one another. One time, he got cast and crew to bring in baby pictures and guess who was who. He has organized wrap parties where the cast members got to show off their various
talents. He created Frankly, Frankly Have I Got a Deal for You – a newsletter for people who work
on the show. Frankly was a home-grown publication that included recipes, classified ads, jokes of the week, and letters from the show’s Executive Director. Frank also helped start a nonprofit organization called Make a Kid Smile. With Elmo dolls in tow, he and his family members visit and brighten the days of children hospitalized with serious illnesses.

Where Did Frank Come From?

Having spent his youth surrounded by lots of relatives, it’s not surprising that Frank knows how to create a sense of family among a sizable group of people. He was the eldest of 16 grandchildren and named after a grandfather who came to the U.S. from Sicily. Frank remembers that his grandpa -- a father of nine -- smoked cigars, used a spittoon, made his own wine, and always paid home visits to grandchildren when they were sick. Frank’s grandmother made Sicilian pizza every Sunday night for the entire family.

Frank remembers another part of growing up: dancing. He’d go to church dances, where he did the Cha Cha, the Mambo, and the Lindy. After joining the US Navy at 17, he taught dance classes in the USO in exchange for meals. In his present day life, Frank liked to dance out in Long Island. He describes himself as “a 50s dancer who dances to live band music.” If there’s a dance he doesn’t know, Frank makes a point of learning it. Not long ago, he went and took lessons to learn how to do the Hustle.

It’s A Wrap
After the shoot is done, Frank invites me to have lunch with him and the crew. He and some of his co-workers start telling funny stories about their years together on set and teasing each other good-naturedly about challenging times they’ve gone through. Chuck, one of Frank’s longest-time buddies there, remembers when the two of them set off together to film the Daytona 500, each being assigned to catch the race from a different angle.

After they've reminisced for a while, I say to Chuck and Frank: “You two have seen a lot.” Frank’s reply? “If we died now, we wouldn’t have missed much.” It’s so clear that Frank’s a man who feels full, full and grateful for all the people and stories and Muppets and children and actors whose lives he has been part of over the last four decades. And I realize that Sesame Street would be a very different place without him.

ISAAC HAYES, ANDY WARHOL, & SESAME STREET

While watching this year's Academy Awards, I caught a fleeting glimpse of footage from when Isaac Hayes performed the theme song from Shaft during the Oscars way back in '71. I could see that he was accompanied by dancers, and right then I decided I wanted to see the entirety of that footage. So yesterday I journeyed to The Paley Center for Media (originally the Museum of Radio and Television) on 52nd Street.

I elevatored up to the 4th floor and hopped onto their database to find the 1971 Oscars. The listing appeared as "Tape 1 of 3" and also said in brackets "Warhol Vintage Television." The running of time was listed as 28 minutes and 55 seconds. That seemed odd, given that the Oscars last for 3 to 4 hours. The guy at the help desk was tied up on the phone so I figured what the heck, I'll just go down to a screening booth and see what this is all about.

So down I went to the screening room and entered the program's code. What it turned out to be was this: Andy Warhol had set up a tripod and filmed the Oscars from his own home. So the program alternated between his shots of the show and shots of his friends lounging around while watching the show. In the backdrop were Andy's continuous and barely-audible comments about everything on the Oscars. When Isaac Hayes came on the Oscars, Andy did catch it on film and made his running commentary. To me, it was an irritating blur of images, music, Isaac's voice, and Andy's voice. So I snapped it off and ran back up to the database room to find something else.

I entered "Jim Henson" and "Muppett Show" and scrolled down 'till I found a vintage episode of Sesame Street which featured Lena Horne, The Globetrotters, and Stevie Wonder. Yay! Back downstairs, I got to see a full commercial-free hour of Sesame Street Episode 536 when Maria and Luis were young adults, when Snuffy was still on the show, and when the pace of the slow was much, much slower.

After watching Sesame Street, I went back down to the lobby of the Paley Center to see a wall and video exhibit about women who have helped to shape the history of media. She Made It: Women Creating Television and Radio "celebrates the achievements and preserves the legacy of great women writers, directors, producers, journalists, sportscasters, and executives."

My adventure led me from the 80th Annual Academy Awards to Isaac Hayes to Andy Warhol to Sesame Street to Women Creating Television and Radio. I love how living in New York makes these kinds of adventures possible.

MEET KEVIN CLASH, THE MAN BEHIND ELMO

During a recent family vacation in an island off the coast of Seattle, I spent a lot of time playing with my nephew, Tyler. Tyler is two years and 4 months old. He loves to greet every person who comes in the room, jump on his older brother, and look at picture books. He is full of passion for life. When I play with Tyler, I follow his lead as much as possible. One evening, I sat quietly with Tyler as he lined up crayons next to each other and drew circles of all colors and sizes. One morning at the beach, I held Tyler’s hand as he walked in and out of the water, looking at the waves, the light, the skim boarders at water’s edge. Once in a while, Tyler would let out a shriek of delight accompanied by a joyful leap. Mostly, though, he wanted just to walk and look. I stayed with him as he did that for about a half an hour.

I can think of few activities more rewarding or important than to follow a young person’s mind. It does take a conscious decision to not insert my idea of how things should go. There’s always a pull to worry about how a child is going to “turn out,” and direct him or her to activities that will (seemingly) ensure success in the future as a “productive” or “well adjusted” adult. But I have a hunch that if we adults spent more time following the creative minds and pursuits of young people, more humans would have lives that they are truly passionate about. Kevin Clash is the proof in the pudding.

Kevin Clash is the puppeteer behind Elmo, the lovable, furry red muppet who has won the hearts of millions on Sesame Street. I gathered information about Kevin by reading his book – My Life as a Furry Red Monster – and by meeting him in person at his Sesame Workshop office. Most inspiring was learning the details about a life of love and support from family, friends, neighbors, and mentors who backed Kevin’s passion for puppetry from the start. Kevin’s rich history as a producer and puppeteer shows that good things happen when adults pay close attention to and nurture the creative and artistic sensibilities of children.

Kevin’s Life in a Nutshell
Kevin grew up in a working class, African heritage suburb of Baltimore, Maryland with a mom, a dad, and three siblings. He spent countless childhood hours creating puppets and puppet shows, getting plenty of inspiration from television programs such as Captain Kangaroo, Good Times, and, of course, Sesame Street. During his younger years, Kevin performed shows for neighborhood folks, for audiences in the wider Baltimore area, then for local television programs.

Like other children who do something off the beaten path, Kevin got a dose of teasing and raised eyebrows. He also experienced the insidious messages of racism. Fortunately, the love and support he got from his family and community balanced out forces that may have otherwise swayed Kevin from his path. As Kevin says in his book, “Society was still sending a loud message that black children like us didn’t have much to aspire to, but that negative talk was drowned out by our parents, who taught us that our dreams were worthy simply because they were ours.”

Gladys and George Clash operated as a team to back their son’s passion. They kept Kevin well-stocked with art supplies and fabrics; took him to his first gigs as a performer; drove him to hobby shops; and connected Kevin to professionals who would help him along his career path. Kevin also has vivid memories of what each parent did individually to support him. George, a flash welder and neighborhood handyman, helped Kevin build puppet stages out of salvaged scrap wood. He also kept his cool when Kevin used his (George’s) furry church coat to fashion a puppet named Moandy, responding to the discovery of his cut-up coat with a firm yet kind: “Next time, ask.” Gladys, a home-based daycare worker, was a talented seamstress who taught Kevin to sew on her old Singer machine. She was also the one who helped Kevin land one of his first big breaks by connecting him with Kermit Love, a man who would become one of Kevin’s key mentors.

When Kevin was in high school, he saw Kermit Love featured on an episode of Call It Macaroni, a children’s television show. Kevin was blown away by the fact that an adult was making a successful living from his passion – designing costumes and puppets for everyone from George Balanchine’s dancers to Sesame Street’s Big Bird. Through perseverance, Gladys got in touch with Love who in turn invited Kevin to come to his workshop in New York City. Shortly after that visit, Kermit invited Kevin to be Cookie Monster’s puppeteer in the 1979 Macys Thanksgiving Day Parade.

In the 1980s, Kevin became a puppeteer for Sesame Street and also participated in a number of Jim Henson productions. In addition to winning the hearts of millions as Elmo on Sesame Street, Kevin has won multiple awards for his work as co-executive producer of Elmo’s World.

Kevin on Mentoring

In reflecting on the trajectory of his life, Kevin is clear that mentoring and other forms of support have been key to his success. He also recognizes that support can mean space and freedom and it can also mean the kind of tough-love guidance that keeps a person grounded. Kevin acknowledges that he has relied on others to keep him rooted in a life of integrity. Said Kevin during our chat at Sesame Workshop, “Stardom stinks if you don’t have people telling you the truth. You need people who teach you that there are rules to abide by if you want to keep being a success with family and with business.” Kevin fondly described several of the mentors who did help him grow as an artist through truth-telling; these folks include Stu Kerr, Kermit Love, and Jim Henson.

Stu Kerr, a television personality, was Kevin’s first mentor. When Stu saw Kevin’s puppetry at a local fair, he invited Kevin to perform in a television show called Caboose. Through Caboose, Kevin eventually landed a spot on Captain Kangaroo. Kevin credits Stu with teaching him about the importance of cooperation in working with other professionals, both from the creative and business aspect of things.

Speaking about costume and puppet designer Kermit Love, Kevin commented: “He took me under his wing like I was a grandson. He was so positive, guiding me in the right direction. When the time came to decide to go to college, he encouraged me to stay working with Jim Henson.”

And, finally, Kevin said of Jim Henson: “Jim was so approachable; there was no ego. Jim’s message was ‘Let’s have a good time and respect each other and give back.’ With Jim, you learned the craft by watching and by doing. It was intimidating to be the new kid on the set and Jim stuck with me.”

Kevin has been blessed with the sound guidance of these three and countless other guides. He also knows, particularly from his childhood days, that adults must step back enough to trust the rightness of what children love to do and want to pursue. On the topic of supporting young people in their journeys, Kevin says this in his book:

“You can teach your children all the basics and then some, and they will turn right around and use their knowledge in wonderful, powerful ways you can’t even imagine. That’s the beauty of learning. But it can be hard to resist pulling on the reins and, at some point, steering kids away from what they want to learn to what you think they need to know to be successful. […]

Dreams are fragile things, but when they’ve been bolstered by the support of parents and teachers, and reinforced with early success, they can withstand the skeptics and take flight. When I was a kid, my dad and I spent a lot of time together building things, and I can’t help but think of this metaphor: Kids are the architects of their own dreams. I know that I was.”