Editing Sesame Workshop (section)

=== Founding ===
For the next two years, Cooney and Morrisett researched and developed the new show, acquiring $8 million funding for ''Sesame Street'', and establishing the CTW.<ref>Morrow, p. 71</ref> Due to her professional experience, Cooney always assumed the show's natural network would be PBS. Morrisett was amenable to broadcast it by commercial stations, but all three major networks rejected the idea.  Davis, considering ''Sesame Street''{{'}}s licensing income years later, termed their decision "a billion-dollar blunder".<ref>Davis, p. 114</ref> Morrisett was responsible for fund acquisition, and was so successful at it that writer Lee D. Mitgang later said that it "defied conventional media wisdom".  Cooney was responsible for the show's creative development, and for hiring the production and research staff for the CTW.<ref>Davis, p. 105</ref>  The Carnegie Corporation provided their initial $1 million grant, and Morrisett, using his contacts, procured additional multimillion-dollar grants from the U.S. federal government, the [[Arthur Vining Davis Foundations]], the [[Corporation for Public Broadcasting]], and the [[Ford Foundation]].<ref>Davis, p. 8</ref>{{refn|group=note|Writer Lee D. Mitgang, in his book about Morrisett's involvement with the [[Markle Foundation]], reported, "The equally important role of Morrisett in ensuring ''Sesame Street's'' success and survival never received recognition approaching Cooney's public acclaim".<ref>Mitgang, p. xvi</ref>}}  Morrisett's friend Harold Howe, who was the [[United States Commissioner of Education|commissioner]] for the [[U.S. Department of Education]], promised $4 million, half of the new organization's budget.  The Carnegie Corporation donated an additional $1 million.<ref>Mitgang, pp. 16–17</ref>  Mitgang stated, "Had Morrisett been any less effective in lining up financial support, Cooney's report likely would have become just another long-forgotten foundation idea".<ref>Mitgang, p. 17</ref>  Funds gained from a combination of government agencies and private foundations protected them from the economic problems experienced by commercial networks, but caused difficulty for procuring future funding.<ref>Lesser, p. 17</ref>

Cooney's proposal included using in-house formative research that would inform and improve production, and independent summative evaluations to test the show's effect on its young viewers' learning.<ref>{{cite book | last = Fisch | first = Shalom M. | author2 = Lewis Bernstein | editor = Shalom M. Fisch | editor2 = Rosemarie T. Truglio | title = "G" is for Growing: Thirty Years of Research on Children and Sesame Street | publisher = Lawrence Erlbaum Publishers | year = 2001 | location = Mahweh, New Jersey | page = [https://archive.org/details/gisforgrowingthi00shal/page/40 40] | isbn = 0-8058-3395-1 | chapter = Formative Research Revealed: Methodological and Process Issues in Formative Research | chapter-url = https://archive.org/details/gisforgrowingthi00shal/page/40 }}</ref><ref>{{cite book | last = Mielke | first = Keith W. | author2 = Lewis Bernstein | editor = Shalom M. Fisch | editor2 = Rosemarie T. Truglio | title = "G" is for Growing: Thirty Years of Research on Children and Sesame Street | publisher = Lawrence Erlbaum Publishers | year = 2001 | location = Mahweh, New Jersey | page = [https://archive.org/details/gisforgrowingthi00shal/page/85 85] | isbn = 0-8058-3395-1 | chapter = A Review of Research on the Educational and Social Impact of Sesame Street | chapter-url = https://archive.org/details/gisforgrowingthi00shal/page/85 }}</ref>  In 1967, Morrisett recruited [[Harvard University]] professor [[Gerald S. Lesser]], whom he had met while they were both psychology students at [[Yale University|Yale]],<ref>Palmer & Fisch in Fisch & Truglio, p. 8</ref> to help develop and lead the Workshop's research department. In 1972, the Markle Foundation donated $72,000 to Harvard to form the Center for Research in Children's Television, which served as a research agency for the CTW.  Harvard produced about 20 major research studies about ''Sesame Street'' and its effect on young children.<ref>Mitgang, p. 45</ref>  Lesser also served as the first chairman of the Workshop's advisory board, a position he held until his retirement in 1997.<ref>{{cite news |title=Remembering Professor, Emeritus, Gerald Lesser |url=https://www.gse.harvard.edu/news/10/09/remembering-professor-emeritus-gerald-lesser |access-date=20 November 2019 |publisher=Harvard Graduate School of Education |date=24 September 2010 |archive-date=20 November 2019 |archive-url=https://web.archive.org/web/20191120220642/https://www.gse.harvard.edu/news/10/09/remembering-professor-emeritus-gerald-lesser |url-status=live }}</ref>  According to Lesser, the CTW's advisory board was unusual because instead of rubber-stamping the Workshop's decisions like most boards for other children's television shows, it contributed significantly to the series' design and implementation.<ref>Lesser, pp. 42–43</ref> Lesser reported in ''[[Children and Television: Lessons from Sesame Street]]'', his 1974 book about the beginnings of ''Sesame Street'' and the Children's Television Workshop, that about 8–10% of the Workshop's initial budget was spent on research.<ref>Lesser, p. 132</ref>

CTW's summative research was done by the Workshop's first research director, [[Edward L. Palmer]], whom they met at the curriculum seminars Lesser conducted in Boston in the summer of 1967. In the summer of 1968, Palmer began to create educational goals, define the Workshop's research activities, and hire his research team.<ref name="lesser-39">Lesser, p. 39</ref> Lesser and Palmer were the only scientists in the U.S. studying the interaction of children and television at the time.<ref>Davis, p. 144</ref> They were responsible for developing a system of planning, production, and evaluation, and the interaction between television producers and educators, later called the "CTW model".<ref>Morrow, p. 68</ref><ref>Cooney, Joan Ganz (1974). "Foreword", in Lesser, p. xvi</ref> Cooney observed of the CTW model: "From the beginning, we—the planners of the project—designed the show as an experimental research project with educational advisers, researchers, and television producers collaborating as equal partners".<ref>{{cite book |last1=Borgenicht |first1=David |title=Sesame Street Unpaved |date=1998 |publisher=Hyperion Publishing |location=New York |isbn=0-7868-6460-5 |page=[https://archive.org/details/sesamestreetunpa0000borg/page/9 9] |url=https://archive.org/details/sesamestreetunpa0000borg/page/9 }}</ref>  She described the collaboration as an "arranged marriage".<ref>{{cite book | last = Cooney | first = Joan Ganz | editor = Shalom M. Fisch | editor2 = Rosemarie T. Truglio | title = "G" is for Growing: Thirty Years of Research on Children and Sesame Street | publisher = Lawrence Erlbaum Publishers | year = 2001 | location = Mahweh, New Jersey | page = xi | isbn = 0-8058-3395-1 | chapter = Foreword | url = https://archive.org/details/gisforgrowingthi00shal }}</ref>

The CTW devoted 8% of its initial budget to outreach and publicity.<ref>Lesser, p. 169</ref> In what television historian Robert W. Morrow called "an extensive campaign"<ref>Morrow, p. 112</ref> that Lesser stated "would demand at least as much ingenuity as production and research",<ref name="lesser-39" /> the Workshop promoted the show with educators, the broadcast industry, and the show's target audience, which consisted of inner-city children and their families. They hired [[Evelyn Payne Davis]] from the [[Urban League]], whom Michael Davis called "remarkable, unsinkable, and indispensable",<ref>Davis, p. 154</ref> as the Workshop's first Vice President of Community Relations and manager of the Workshop's Community Educational Services (CES) division.<ref name="lesser-39" /> Bob Hatch was hired to publicize their new series, both before its premiere and to take advantage of the media attention concerning ''Sesame Street'' during its first year of production.<ref>Lesser, p. 40</ref>

According to Davis, despite her involvement with the project's initial research and development, Cooney's installment as CTW's executive director was questionable due to her lack of executive experience, untested financial management skills, and lack of experience with children's television and education. Davis also speculated that sexism was involved, stating, "Doubters also questioned whether a woman could gain the full confidence of a quorum of men from the federal government and two elite philanthropies, institutions whose wealth exceeded the gross national product of entire countries".<ref>Davis, p. 124</ref> At first, Cooney did not fight for the position. However she had the help of her husband and Morrisett, and the project's investors soon realized they could not begin without her. She was eventually named to the post in February 1968.  As one of the first female executives in American television, her appointment was termed "one of the most important television developments of the decade".<ref name="davis125126">Davis, pp. 125–126</ref> The formation of the Children Television Workshop was announced at a press conference at the [[Waldorf-Astoria Hotel]] in New York City on 20 May 1968.<ref>Davis, p. 127</ref>

After her appointment, Cooney hired Bob Davidson as her assistant; he was responsible for making agreements with approximately 180 public television stations to broadcast the new series.<ref>Lesser, p. 41</ref> She assembled a team of producers:<ref>{{cite book |last1=Finch |first1=Christopher |title=Jim Henson: The Works: the Art, the Magic, the Imagination |date=1993 |publisher=Random House |location=New York |isbn=978-0-679-41203-8 |page=[https://archive.org/details/jimhensonworksar0000finc/page/53 53] |url=https://archive.org/details/jimhensonworksar0000finc/page/53 }}</ref> [[Jon Stone]] was responsible for writing, casting, and format; [[David Connell (television producer)|David Connell]] assumed control of animation and volume production; and Samuel Gibbon served as the show's chief liaison between the production staff and the research team.<ref>Davis, p. 147</ref> Stone, Connell, and Gibbon had worked on another children's show, ''[[Captain Kangaroo]]'', together. Cooney later said about ''Sesame Street''{{'}}s original team of producers, "collectively, we were a genius".<ref>Gikow, p. 26</ref> CTW's first children's show, ''Sesame Street'', premiered on 10 November 1969.<ref>Davis, p. 192</ref> The CTW was not incorporated until 1970 because its creators wanted to see if the series was a success before they hired lawyers and accountants.<ref name="wershba-6">{{cite AV media | people =Shirley Wershba (host) | date =27 April 1998 | title ="Joan Ganz Cooney, Part 6" | medium = video clip | url = https://interviews.televisionacademy.com/interviews/joan-ganz-cooney#interview-clips | access-date = 20 November 2019 | publisher =Archive of American Television}}</ref> Morrisett served as the first chairperson of CTW's board of trustees, a job he had for 28 years.<ref>Mitgang, p. 39</ref>