Cultural High-Water Mark

Societal values shape the environments in which children grow and thrive. Culture, in its broadest sense, is a mirror of a society’s priorities, and nowhere is this more evident than in the media and movements crafted for the youngest among us. The late 1960s and early 1970s marked a high point in a fleeting wave of cosmopolitan benevolence—a cultural moment when optimism, inclusivity, and a commitment to nurturing both children and the planet reached an extraordinary peak. This era, epitomized by the revolutionary children’s television program Sesame Street and its contemporaries, alongside societal milestones like the first Earth Day, reflected a unique convergence of empathy, education, and environmental consciousness. It represented a high-water mark in American culture’s dedication to fostering a kinder, more equitable world.

In the early 1960s, American television languished, earning the FCC chairman’s scathing label “a vast wasteland.” He urged broadcasters to prioritize public interest over mere popularity, critiquing the rampant commercialism where shows like The Flintstones peddled cigarettes and Saturday morning cartoons doubled as marketing schemes. Stephen Battaglio of the Los Angeles Times noted this era hit “rock bottom” in quality, necessitating an alternative to marketplace-driven content.

A pivotal shift began with WNDT in New York, launched in 1962, which brought arts to the masses, debuting with a stunning cartoon by Faith and John Hubley. Producer Joan Ganz Cooney, inspired by this, envisioned a new platform. The idea for Sesame Street emerged in 1966 at a dinner party with a Carnegie Foundation executive, where the dire state of children’s TV sparked a plan. Cooney’s subsequent research trip culminated in a 1966 report, “The Potential Uses of Television in Preschool Education,” arguing that TV could educate by mimicking commercials’ repetition and clarity—techniques kids already absorbed from ads. Developed with input from psychologists, educators, and child development experts, the show aimed to prepare disadvantaged children for school while fostering social and emotional growth for all viewers. Its urban setting, diverse cast of human and Muppet characters, and focus on literacy, numeracy, and empathy made it a cultural touchstone.

The Corporation for Public Broadcasting (CPB) was established on November 7, 1967, when President Lyndon B. Johnson signed the Public Broadcasting Act of 1967 into law. This legislation aimed to create a publicly funded, non-commercial broadcasting system to promote educational and cultural programming in the United States. The CPB was designed to serve as a private, nonprofit corporation that would distribute federal funds to support public television and radio stations, ensuring diverse, high-quality content accessible to all Americans.

Cooney founded the Children’s Television Workshop (CTW) in 1968, which birthed Sesame Street. The show’s first original piece, The J Commercial (see image at top), a Pantomime Pictures cartoon pitching the alphabet, proved effective, with Dr. Edward Palmer noting 100% recognition of “J” after minimal airings. This marked a lifeline for creative animators, free from commercial constraints, as seen in contributions from the Hubleys, Tee Collins, and others like Jim Henson.

By its 1969 premiere, Sesame Street featured psychedelic works like E-Imagination and Jazz #2, showcasing diverse animation styles. The 1970s, a tough decade for animators, saw the show flourish with pieces like Fred Crippen’s I for Impolite and Jim Simon’s “Afro-Cubistic” works, influencing shows like The Electric Company. Underground talents like Will Vinton and Sally Cruikshank later joined, reaching vast audiences without selling products. Though often overlooked, Sesame Street’s anonymous cartoons shaped animation.

The Cultural Context: A Wave of Benevolence

Hunter S. Thompson, in Fear and Loathing in Las Vegas (1971), famously described the late 1960s as a time when America rode a “high and beautiful wave” of optimism and possibility, only to see it crash against the realities of the 1970s. Yet, for a brief moment, this wave carried with it a vision of a society that prioritized connection, understanding, and progress. From a child psychologist’s perspective, this period was remarkable for its commitment to shaping young minds with values of empathy, diversity, and stewardship. The counterculture, civil rights movement, and growing environmental awareness converged to create a cultural ethos that valued collective well-being over individualism—a rarity in American history.

Children, as the most impressionable members of society, became a focal point for this idealism. Educators, psychologists, and media creators recognized that early childhood was a critical window for instilling values of kindness, inclusivity, and responsibility. This recognition manifested most vividly in children’s television, which transitioned from mere entertainment to a powerful tool for social and emotional education. Programs like Sesame Street, Mr. Rogers’ Neighborhood, and Captain Kangaroo embodied this ethos, but they were part of a broader tapestry of cultural initiatives that championed children and the planet they would inherit. These programs were not just shows; they were carefully crafted interventions designed to nurture emotional intelligence, celebrate diversity, and prepare children for a rapidly changing world; evidence of a society striving to create a generation equipped with the tools to build a better future.

Sesame Street was revolutionary in its commitment to inclusivity. Characters like Gordon and Susan, an African American couple, and Luis and Maria, Hispanic residents of the neighborhood, normalized diversity in a way that was rare for the era. The show tackled complex topics—poverty, loss, and prejudice—with a gentle honesty that respected children’s capacity to understand. For example, the episode addressing Mr. Hooper’s death remains a masterclass in helping children process grief. Titled "Farewell, Mr. Hooper," it aired on Thanksgiving Day, 1983.

From a psychological perspective, Sesame Street modeled emotional regulation, conflict resolution, and community-building, aligning perfectly with the era’s cosmopolitan benevolence.

Mr. Rogers’ Neighborhood: A Sanctuary of Emotional Safety

Premiering in 1968, Mr. Rogers’ Neighborhood was the brainchild of Fred Rogers, a Presbyterian minister and child development advocate. Rogers believed that television could be a tool for emotional nurturing, and his show became a sanctuary for children navigating a turbulent world. With its slow pace, soft-spoken host, and focus on feelings, the program stood in stark contrast to the era’s fast-paced, commercialized children’s shows. Rogers’ approach was rooted in psychological principles of validation and self-worth. He addressed topics like fear, anger, and divorce, reassuring children that their emotions were valid and manageable. Episodes tackling societal issues—such as the 1968 segment where Rogers invited African American officer Clemmons to share a wading pool, a subtle rebuke to segregated public spaces—demonstrated a commitment to social justice. For a child psychologist, Mr. Rogers’ Neighborhood exemplifies how media can foster emotional resilience and empathy, reflecting the era’s belief in nurturing the whole child.

Captain Kangaroo: The Gentle Pioneer

Airing from 1955 to 1984, Captain Kangaroo was a precursor to the late 1960s television revolution but reached its cultural stride during this period. Hosted by Bob Keeshan, the show combined gentle humor, storytelling, and moral lessons. By the late 1960s, Captain Kangaroo had evolved to incorporate more educational content, influenced by the era’s focus on child development. Characters like Mr. Green Jeans and the Banana Man created a warm, community-like atmosphere that encouraged curiosity and kindness.

While less overtly progressive than Sesame Street or Mr. Rogers’ Neighborhood, Captain Kangaroo contributed to the era’s ethos by prioritizing children’s emotional well-being over commercial gain. Its longevity and adaptability reflect the period’s growing recognition of television’s potential as an educational tool.

Other Notable Programs: A Flourishing Landscape

The success of Sesame Street and Mr. Rogers’ Neighborhood inspired a wave of children’s programs that carried forward the era’s values. These included:

• The Electric Company (1971–1977): Aimed at older children, this PBS show used sketch comedy and music to teach reading and grammar. Its diverse cast and urban vibe echoed Sesame Street’s inclusivity, while its focus on literacy addressed educational inequities.

• Zoom (1972–1978): Produced by WGBH Boston, Zoom featured real children engaging in creative activities and discussions. Its emphasis on youth agency and collaboration reflected the era’s trust in children’s potential to shape their world.

• Schoolhouse Rock! (1973–1985): This series of animated shorts taught history, civics, and math through catchy songs. Its debut in 1973 captured the era’s belief that education could be joyful and accessible, fostering a sense of civic responsibility.

• Romper Room (1953–1994): Though predating the era, Romper Room gained prominence in the late 1960s with its focus on preschool education and manners. Its local variations created a sense of community, aligning with the period’s emphasis on connection.

These programs, alongside Sesame Street, Mr. Rogers’ Neighborhood, and Captain Kangaroo, formed a constellation of media that prioritized children’s intellectual, emotional, and social growth. From a psychological perspective, they provided models of prosocial behavior, emotional literacy, and cultural competence—values that resonated with the era’s cosmopolitan ideals.

The 1969–1975 period was a golden age for children’s television, with PBS leading an educational revolution (Sesame Street, The Electric Company, Zoom) and commercial networks delivering entertaining cartoons (Scooby-Doo, The Archie Show, The Banana Splits). The PBS shows, in particular, aligned with the era’s cosmopolitan benevolence, emphasizing inclusivity, education, and emotional growth. Their Peabody Awards (Sesame Street in 1970, Make a Wish in 1971, The Electric Company in 1972, Zoom in 1973) reflect critical recognition, while commercial shows like Scooby-Doo and The Archie Show captured large audiences through mass appeal and syndication.

The highest-rated children’s television shows from 1969 to 1975, based on cultural impact, critical acclaim, and anecdotal popularity, include Sesame Street, Mister Rogers’ Neighborhood, Captain Kangaroo, Scooby-Doo, The Electric Company, Zoom, Make a Wish, Schoolhouse Rock!, The Archie Show and its spin-offs, and The Banana Splits Adventure Hour. These programs reflect the era’s blend of education and entertainment, with PBS shows leading in innovation and social good, while network cartoons provided broad, accessible fun.

Beyond Television: Pro-Child, Pro-Earth Movements

The cultural benevolence of the late 1960s and early 1970s extended beyond television to broader societal initiatives that championed children and the environment. These movements reinforced the era’s commitment to creating a world where young people could thrive in harmony with their planet. On April 22, 1970, millions of Americans participated in the first Earth Day, a grassroots movement that galvanized public support for environmental protection. Spearheaded by Senator Gaylord Nelson, Earth Day reflected a growing awareness of pollution, deforestation, and climate change, fueled by works like Rachel Carson’s Silent Spring (1962).

Earth Day’s emphasis on collective action and stewardship had profound implications for young minds. Schools organized cleanups and teach-ins, fostering a sense of agency and responsibility. This aligned with the developmental need for children to feel they can effect change, enhancing their self-efficacy and connection to their environment.

The era also saw significant legislative efforts to safeguard children’s well-being, reflecting the cultural prioritization of youth. Key initiatives included:

• The National Environmental Policy Act (1969): This law required environmental impact assessments for federal projects, ensuring that future generations would inherit a cleaner planet.

• The Occupational Safety and Health Act (1970): By improving workplace safety, this act indirectly benefited children by protecting their parents’ health and livelihoods.

• The Education for All Handicapped Children Act (1975): Though slightly later, this law’s roots in the era’s advocacy for equity ensured that children with disabilities received free, appropriate education—a testament to the period’s inclusivity.

These policies, informed by the era’s activism, created systemic supports for children’s physical, educational, and emotional health, aligning with the psychological principle that a secure environment is foundational to development.

The late 1960s and early 1970s also saw a surge in child-centered advocacy, driven by figures like pediatrician Benjamin Spock, whose Baby and Child Care (1946) empowered parents to nurture emotionally healthy children. The era’s counterculture embraced alternative education models, such as Montessori and Waldorf schools, which emphasized creativity and individuality. These approaches reflected a belief that children were not just future adults but individuals deserving of respect and agency. Community programs, like Head Start (launched in 1965 but expanded in the late 1960s), provided early education to low-income children, reducing developmental disparities. Such initiatives underscored the era’s commitment to equity, ensuring that all children had access to the tools for success.

The late 1960s and early 1970s was a period when American culture intentionally crafted environments to foster resilience, empathy, and global citizenship in children. Sesame Street taught children to celebrate differences, Mr. Rogers’ Neighborhood validated their emotions, and Earth Day empowered them to protect their world. Together, these efforts addressed key developmental needs. The result has been a generation exposed to values of kindness, inclusivity, and stewardship—qualities that, while not universally sustained, left a lasting cultural imprint. The world, however, has not been saved.

The Decline of the Wave: Why It Couldn’t Last

Thompson’s metaphor of the wave crashing is apt. By the mid-1970s, economic stagflation, political disillusionment and a backlash against progressive ideals began to erode the era’s optimism. Children’s television faced increasing commercialization, with new shows prioritizing toy sales over education. Environmental progress stalled amid corporate pushback, and social programs faced funding cuts.Yet, the legacy of this era endures. From a psychological perspective, the late 1960s and early 1970s demonstrated that culture can profoundly shape young minds when guided by benevolence. The era nurtured a generation with values of empathy, equity, and environmental stewardship. This period was a high-water mark in American culture—a moment when society dared to dream of a world where every child could thrive on a healthy planet.

Epilogue: On August 1, 2025, the Corporation for Public Broadcasting announced it will shut down operations after Congress, under Trump administration pressure, cut $1.1 billion in funding, fulfilling a decades-long Republican goal, despite the efforts of millions of Americans who called, wrote and petitioned Congress. The closure follows the Republican-controlled House’s decision was part of a $9 billion reduction to public media and foreign aid programs. Unless private backers stip in, it’s likely a fatal blow to America’s public media system and the more than 1,500 local stations that have relied on its support for nearly six decades.