Sesame Street’s fantastic Samuel Beckett parody, “Waiting for Elmo”:
“A modern masterpiece, a play so modern and so brilliant that it makes absolutely no sense to anybody.”
—Alastair Cookie
Via Open Culture
Herbie Hancock demonstrates his Fairlight CMI on Sesame Street circa 1983.
The Fairlight Computer Music Instrument (CMI) was a state-of-the-art Synthesizer/Sampler workstation when it hit the market in 1979 and its rep has endured. Finding one today for sale is nearly impossible. They’re highly collectible among people who collect such things.
The little girl whose voice is being sampled, Tatyana Ali, went on to star on The Fresh Prince Of Bel Air.
Usually their videos have millions of views on day one, but this one seems to have slipped out unnoticed, relatively speaking. There is also an OK Go color game at Sesame Street.com.
Directed by Al Jarnow, the animator responsible for the iconic “Cosmic Clock” short. This is his first new work for Sesame Street in over 25 years.
Previously on Dangerous Minds:
Cosmic Clock: The Passing of Time Visualized
Thank you Jesse Jarnow!
In other words, “Darth Vader recites the alphabet on Sesame Street.” Who knew the alphabet could be so intense?
And if that wasn’t enough for you, here’s James Earl Jones counting to 10.
(via IHC)
Nice stop-motion recreation of classic Sesame Street segment, the “Pinball Number Count.” I really wished they had retained the original, ultra funky theme song sung by The Pointer Sisters, though.
(via BuzzFeed)
The Sesame Street crew get crazy with the Beastie Boys’ “Sure Shot.”
This was put together by British branding and graphics company Wonderful Creations.
Grover is groovin’.
According to the YouTube comments this genre of music is called Drumstep, not Dubstep. It’s hard to keep track these days.
(via Nerdcore)
I’m assuming this is an Anti-Twilight inspired piece by poopbear. BTW, Count von Count totally rules in my book!
Down for the Count
I fucking knew it!
(via An Internet Website and The Daily What)
From Time:“The biggest juggernaut in children’s-television history sprang forth from mundane origins. At a Manhattan dinner party in 1966, a Carnegie Foundation executive named Lloyd Morrissett mentioned that his young daughter was so enthralled by television that she would park herself in front of the family’s set to gaze at early-morning test patterns. That story prompted a public-television producer named Joan Cooney to investigate how television could be used to package education as entertainment: “What if it went down more like ice cream than spinach?” The ensuing creation ?
