Street Scenes

The place could use a coat of paint. Otherwise, it’s perfect.

There was a certain magic to Sesame Street in the 1970s that doesn’t quite exist anymore. I came to this realization after borrowing Sesame Street Old School DVDs from the library and revisiting the street I remembered from my childhood. It was a very different place, to say the least.

For one thing, there were hardly any Muppets on the street itself. Yes, Bert and Ernie lived in the basement apartment at 123 – but they were rarely seen outside of it. Herry Monster would show up and occasionally wreak havoc. But really, the only regulars on the street were Big Bird, Oscar the Grouch and, later, Snuffleupagus.

This is a far cry from the Sesame Street of today which frequently plays host to large roving gangs of Muppets, often led by Elmo and his loyal posse: Zoe, Abby, Baby Bear, Rosita, and Telly. Big Bird, Oscar, and Snuffy are there too, of course, and other Muppets can be found hanging out apartment windows.

Basically Muppets have taken over the neighborhood. It is a rare episode to see more than one or two actual human beings take on a significant role in any of the “street stories.”

It’s like a fuzzy, adorable West Side Story

This is a far cry from the street of the 1970s. Adults were everywhere then. They laughed and joked with each other. They did things as a group. It wasn’t unusual to see Maria, Luis, Bob, Gordon, Susan, and David – all young, fun loving, and outgoing – hanging out on the stoop chewing the fat. The friendships between them felt genuine – kind of like what you might see in a real neighborhood. Even the fact that Mr. Hooper was rarely a part of these coffee cloches felt right; he was of a different generation and had a store to run.

The physical characteristics of the street itself also changed over time. Today’s street reflects the slow but steady gentrification of the neighborhood. Sesame Street is now as sunny, bright, and colorful as the many, many Muppets who reside there. It is a beautiful place to be sure, but, like the Muppets, the street doesn’t feel quite genuine. The buildings are too crisp and pristine. It feels a bit too fantastic to be a part of this world.

The street of the 1970s looked lived on. The colors were muted to the point of dingy; the color palette leaned heavily toward, grays, olives, and browns. Fixtures were worn, maybe a little bent or rusty. The buildings were speckled with those mysterious black stains that always seem to find their way on to most every structure that’s more than a few years old. It was a clean street by 1970s standards, but 1970s standards weren’t all that clean. New York was an armpit back then and Sesame sort of fit into that environment.

And this is what made the Sesame Street of my childhood so magical: The place looked ordinary enough to be real.

In fact, almost every kid in my kindergarten class thought they knew where Sesame Street was; any visit to New York offered up dozens of potential sightings.

I, too, was one of the true believers. When I was young, my parents took me to the Bronx Zoo. As soon as we crossed the George Washington Bridge, I had my eyes out the window. I checked the street signs, looked for that familiar stoop, and got giddy enough to do a car dance whenever I found a location that came sort of close. I never did spot that friendly, seven-foot-tall canary, but the delightful possibility that I might was always just around the next corner.

Three Silly Little Things That Make Me Deliriously Happy

Don’t mind if I do!

Sample Ladies

Shopping in one of those ginormous warehouse stores is exhausting. You’re pretty much hoofing half a mile every time you go down an aisle – and since they’re about 400 aisles in those places, you’re in for a very long walk.

So what a delight it is to turn a corner and encounter a smiling grandma-type ready – eager, really – to hand you a paper cup with a cookie or a wiener dog or a cheesy cracker inside. She knows you’re walking a marathon with a two-ton shopping cart in tow. She knows your blood sugar is low. She wants to help. She’s your support team.

“It’s good, hm?” she asks as you chew. And since she already knows your answer, she follows it up with a wink and an almost conspiratorial, “Have another.” And you comply, because you and your new grandma are sharing a special moment.

You also comply because, well, only one cup of whatever-it-was just doesn’t cut it. Go ahead and ask for a third one; she’ll give it to you.

Accept no substitutes!

Scotch Magic Tape

I take great pride in my ability to giftwrap unusually shaped objects. I chalk it up to my on-again/off-again obsessive compulsive disorder.

So it should come as little surprise that I find Magic Tape wonderful. You can make it nearly invisible by scratching it with a thumbnail; that, my friends, is the difference between a good wrapping job and a great one.

Once upon a time, my wife, Ellen, didn’t understand this. Once she bought a roll of cellophane tape. Her reason was “because it was on sale.”

That is a bad reason. The only acceptable reason is “because someone forced me at gunpoint.”

Not only was the cellophane tape absurdly, distractingly shiny, but also hard to rip off the roll and had this nasty habit of sticking to itself. I grumped about it constantly.

I don’t whine like this about most things. In my life I have (repeatedly) coped with getting fired; dealt with serious family illnesses; and helmed enormous, high priority, long-term projects without ever breaking a sweat. Subpar tape, however, is my kryptonite. That’s just the way I roll. Ellen has decided to love me anyway.

Ellen has also decided that cheap, crummy, evil tape is not worth the inevitable rift in our marriage and now buys the “correct” tape, regardless of price.

Yes, I know my wife is patient and wonderful. No need to tell me. I know.

Those leaves were made for walkin’ (upon).

Crunchy Leaves

I love to walk in the woods. I also love it when my footfalls make little noises. Fallen leaves make quiet, yet deeply satisfying “crish crish” sounds that gladden my heart. Don’t ask me why this affects me the way it does; I have no idea, but I’ll walk for miles to keep hearing that “crish crish.”

Now if someone ever decides to station a few sample ladies along those leafy, wooded paths, I would be a very happy man indeed.

What silly little thing makes you happy?

Meet My Pal, David. You’ll Like Him.

Sarah Gives Thanks has been officially released! WOO!

I spent most of the official release date at the car repair shop. So, um, woo?

To celebrate (the release date, not the car repairs), I am posting my interview with David Gardner, the book’s incredible illustrator and a fellow I am truly blessed to be associated with. When I first saw his rough sketches for Sarah, I knew this book was going to be something special.

A while back, I held a contest asking you to suggest questions for David and, boy, did you folks deliver. Every interview question here was submitted by a reader. I would highly recommend that, after you finish this post, you click on the links to the questioners’ blogs. I follow every one of them and you should, too.

As you peruse this, you will note that many of the questions are silly. So if you would like to learn more substantial things about David, I would suggest going to his website.

And now on with the interview!

David Gardner, or as I like to call him, Mr. Awesome.

Vanessa Chapman: If you weren’t David Gardner, which David would you like to be?

David Copperfield. Not the Dickens character, but the magician. Because, well, he’s a magician, which is cool in itself, and he can fly (on stage, at least). Oh, and he owns an island. What’s not to like?

LJ Clayton: I can’t draw noses, they all look the same when I try. Have you a tip for drawing a really good nose?

Well, noses are tough, right up there with hands. I break it down into simple geometric shapes. The tip of the nose is a bulb of sorts, so I start with a circle. then the triangle, sort of an elongated pyramid, for the bridge, then two circles for the nostrils. Then I erase everything I don’t need. Sometimes I’ll just start with the triangle-pyramind thing, to place it on the face. One tip: Almost never draw the nostril holes. Even if you see them there, they look piggy when you draw them, unless you’re very close to your subject and at a very low angle. Or unless, of course, they are a pig.

Erin Brady Pike: What best describes your attire while illustrating?

Casual. Sloppy, depending on mood or the weather. Usually barefoot. Short sleeves, or sleeves rolled way up (they get in the way of making big moves with the pencil). I tried drawing naked once, but I found it distracting, and constantly worried that someone would walk in and catch me.

Wendy Lawrence: What was your favorite thing to draw as a kid?

Cartoon characters, any of them, really, but especially Bugs Bunny, Mickey Mouse, Fred Flintstone, Jiminy Cricket and most of the Seven Dwarfs. In the second half of first grade, I drew nothing but the characters from a strange movie called Pinocchio in Outer Space, which my dad sat through twice with me, bless his heart.

Lauri Meyers: Your interpretation of Sarah’s face and body language shows us the hardship this 30-something widower has already faced. Did you try on a corset and bonnet to get into the character?

The short answer is, No. The long answer is No, too, but my jeans are pretty tight these days, so it’s not much of a stretch to imagine squeezing into a corset. I guess I’ve seen Gone With the Wind so many times that imagining myself in a corset and bonnet just feels like my subconscious default. I’m glad you picked up on Sarah’s weariness!

Nancy Tandon: Have you ever been so engrossed in a project that you almost forget to stop and take a bathroom break, dashing to pee at the last second and barely making it?

Yes. I tend to be a bit obsessive, not wanting to stop until I solve a problem. But bathroom breaks are inevitable, unless you’re on a hunger strike, and I find they’re good at easing the obsession, forcing me to step back, walk away, and come back to the painting with a fresh eye. Sometimes, its not obsession, but simply being in The Zone, which feels like a gift of grace, so I like to milk that grace whenever it comes. It’s precious, like sighting a doe in the woods.

Cathy Ballou Mealey: If Sarah Hale were to throw a pie in your face, what kind of pie would you want it to be?

Not pumpkin, like on the cover, that’s for sure. That would hurt, and it would have been in a crockery pie pan, so blood would be involved. I’d pick a lemon meringue, and in a flimsy aluminum plate, please.

Kaleidoscopebrain: What is a secret, really weird thing you love or love to do?

I’m a Virgo, so I don’t do weird things. Or, if I do, I like to keep it a secret. Sorry.

But I’ll fess up to this: Lately I love to watch the Cloud Atlas movie trailer online and cry at the exact same place every single time, when Susan Sarandon says in a voiceover, “Our lives are not our own,” and then, “every act of kindness,” as somebody pulls a blanket over a shivering, sleeping Halle Berry – it gets me every time.

Madame Weebles: If Mike were going to write a children’s book about you, and you could choose someone to illustrate the book (anyone except yourself, that is), who would you choose and why?

Trina Schart Hyman. I love the way she handled people, the flow of her line, so elegant. She wasn’t afraid to be honest and expressive and she hit the full range of emotions head-on, from happy to heartbreaking (just like my life!) Also, she would make me look good, like a real character, and she could paint my life to look more interesting and romantic and mysterious than it has actually been.

Anne Woodman: Which interview question about being an artist or illustrator irritates you the most?

I like mostly any question – it means the work is being talked about, at least. But I do find it irritating when someone asks something like, “What was Harvey Milk like as a boy?” because I don’t know the answer. I research as much as I can, but I’m not as much of an expert on the subject as the writer will be, generally. I’d rather they ask me how to draw a nose.