Theodore Roosevelt is known as the first conservationist President, having established national parks, wildlife refuges, and national forests during his time in the White House. It seems fitting, then, that one of the world’s most recognizable animal figures — the beloved teddy bear — was inspired by and named after the 26th U.S. President.
In November 1902, Roosevelt joined Mississippi Governor Andrew H. Longino on a hunting trip in Mississippi. On the second day of the trip, Roosevelt’s aides — including guide Holt Collier, a skilled hunter in his own right — captured a bear, tied it to a tree, and presented it to the President, who was eager to start the trip off strong with a catch. Roosevelt, however, refused to shoot the restrained bear. He may have been an avid hunter, but he found it unsportsmanlike to harm a defenseless animal.
The hunting incident attracted attention in the press. Washington Post cartoonist Clifford Berryman depicted Roosevelt refusing to shoot a small, tied bear in “Drawing the Line in Mississippi,” a cartoon that doubled as a commentary on the President’s handling of a state border dispute. The cute bear cub character became popular with Americans, and in the ensuing years, Berryman continued to use the bear as a symbol for President Roosevelt, who was commonly known as “Teddy,” short for Theodore.
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Berryman’s cartoon, published on November 16, was particularly inspiring to Morris and Rose Michtom, owners of a Brooklyn toy and candy store. Morris, a Roosevelt supporter, created a stuffed bear and named it after the President. Before making more, he reportedly wrote to Roosevelt to ask his permission to name the toy “Teddy’s Bear.” Roosevelt agreed, but is said to have expressed skepticism. “I don’t think my name is likely to be worth much in the bear business,” Roosevelt wrote, according to the Michtoms, “but you’re welcome to use it.” The Michtoms’ first teddy bear stood about 2.5 feet tall, had button eyes, and was made of a golden-honey plush fabric. By 1903, the Michtoms founded the Ideal Toy Company in order to produce and sell the teddy bears that their customers loved.
At around the same time, the German toy company Steiff introduced a stuffed bear of its own. Designed by Richard Steiff, the nephew of company founder Margarete Steiffthe, the bear first appeared in 1902, reportedly inspired by animal sketches Richard made as a child. The bear was made of soft mohair and had a movable head and limbs. After the toy appeared at the 1903 Leipzig Toy Fair, a U.S. buyer ordered 3,000 of the stuffed bears, kicking off the company’s success overseas. By 1906, the Steiff bear was also known as the “teddy bear” (though exactly how this happened remains something of a mystery), and in 1907 alone the company produced 974,000 teddy bears.
It wasn’t long before the teddy bear’s popularity extended beyond toy stores. In 1907, composer John Walter Bratton wrote “The Teddy Bear Two-Step,” which later became known as “The Teddy Bear’s Picnic.” That same year, the toy’s popularity sparked minor controversy when a Michigan minister suggested the stuffed animals were a “menace” to the country and would take away young girls’ desire to nurture human babies.
Roosevelt, for his part, was supportive of the eponymous stuffed toy, and in 1904, he even used a teddy bear as a symbol in his campaign for reelection, printing the teddy’s likeness on buttons and displaying the Michtoms’ creations at the White House. Even after his presidency came to an end, Roosevelt’s passion for wildlife and the outdoors endured. He went on numerous expeditions, some of which, such as his 1913 trek through the Amazon’s River of Doubt, were more treacherous than others.
In 1963, the Ideal Toy Company reached out to Roosevelt’s family to offer them one of the original teddy bears. It made its way into the hands of one of Theodore’s grandsons, Kermit Roosevelt, and in 1964, the Roosevelt family donated it to the Smithsonian National Museum of Natural History.
The concept of miniature dwellings traces back to ancient civilizations, when Egyptians placed small clay replicas of their houses and belongings in and around burials. These models were intended to provide the comforts of home to the deceased in the afterlife. Although the tiny dwellings we know as dollhouses today are quite different from these ancient versions, their history also includes purposes other than play. Over the last 500 years, dollhouses have evolved from elaborate displays for adults, to useful household teaching tools, to enduring objects of imagination and aspiration for children.
The earliest known dollhouses were made in the 16th century, primarily in Germany, and later in Holland and England. Known as a “dockenhaus” (miniature house), “cabinet house,” or “baby house” (because of the size, not the intended audience), these handcrafted items were not initially made for children to play with — they served as display cases for wealthy adults to fill with miniature furniture, fabrics, and artwork that reflected their own taste and lifestyle.
One of the earliest recorded examples of a dollhouse is the Munich Baby House. Commissioned by Albert V, the Duke of Bavaria, in the 1550s, the piece was made by skilled artisans in the shape of a royal residence (instead of a wooden cabinet like the dominant style that soon followed). Though the Munich Baby House was lost in a fire in the 1600s, Albert V had the object detailed in an inventory of his household goods. Historians believe that the Munich Baby House was likely made for the duke’s entertainment, but some suggest it may have been built as a gift for his daughter, which would make it an early example of a dollhouse for children.
Throughout the 17th century, dollhouses remained as elaborate and whimsical showcases of a family's wealth; they were most often constructed in cabinets with doors that opened and closed like a china cabinet. In the early 1600s, however, baby houses also took on a more practical purpose. Nuremberg houses and Nuremberg kitchens, named for their primary place of manufacture in Germany, emerged as inspirational and educational tools to motivate and teach young women how to decorate and care for a household.
These types of baby houses were less ornamental than their predecessors, typically made entirely out of metal and sometimes consisting of just a kitchen. But they were no less meticulous, featuring tiny handcrafted brooms, kettles, copper cooking pots, and mini masonry hearths at the heart of the kitchen. Though they’re thought of as being instructional in nature, Nuremberg houses were also used for play, primarily by girls, and often during the Christmas holidays. This trend played another important role in the evolution of dollhouses: A well-preserved Nuremberg house from 1673 is another early example of a dollhouse built to look like a family home.
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The Victorian Dollhouse
By the 18th century, baby houses had become popular in England. These structures commonly had detailed and realistic facades, including doors and windows, informing what we commonly think of as the classic Victorian dollhouse. They were often modeled after the owner’s home, and although they still functioned as displays of opulence, caring for them and decorating them also became a beloved hobby for women.
Until the mid-18th century, dollhouses were unique, one-of-a-kind creations. But with the innovations of the Industrial Revolution, the once custom-made dollhouses became much easier to produce en masse. This dovetailed with changing ideas of childhood in the early 19th century, when kids were no longer expected to weather the hardships of adulthood. Around this time, dollhouses started to be used more frequently as toys.
One of the first mass-produced dollhouses available in the United States came courtesy of the Bliss Manufacturing Company. Bliss began producing dollhouses in the 1890s, even as the U.S. also imported the tiny dwellings and miniature furnishings from Germany. Despite becoming more mainstream in the early 1900s, dollhouses didn’t become affordable for most families until after World War II. The postwar economic boom, along with increased manufacturing materials and abilities, made the toys fixtures in playrooms throughout America. Mattel released Barbie’s first Dreamhouse in 1962, just three years after the Barbie doll’s debut, and by the 1970s, other major toy companies including Fisher Price, Playmobil, and Tomy were producing popular miniature toy houses as well.
In recent decades, dollhouses have evolved into collector's items and continue to be a passionate hobbyist pursuit. Over the past few years, social media communities have developed around a renewed love of miniature dwellings. Today, the toy also reflects a cultural shift — many people consider the meticulous structures a form of escapism and a source of solace and joy in a world with issues that often feel beyond individual control. Dollhouses continue to be cherished toys that exist at the intersection of craftsmanship, culture, and creativity.
From its very first episode in 1969, Sesame Street captivated the imaginations of America’s youth, using research-based programming to reinvent children’s television. Created by Joan Ganz Cooney and Lloyd Morrisett in the late 1960s, the show aimed to not only entertain, but educate — and it did just that. It’s been called the “largest and least-costly [early childhood] intervention that’s ever been implemented” in the United States.
Through its diverse characters and cast members, the show reflected the real world, and its fast-paced storytelling, repetition, and humor helped impart valuable life lessons. Sesame Street quickly became more than just another TV show: It’s been a trusted companion for generations of families. Read on to learn more about the history of the show that, through its commitment to inclusivity and social change, has left a profound mark on society — and made Big Bird a star.
The seed that grew into Sesame Street was planted at a fateful Manhattan dinner party hosted by Joan Ganz Cooney, a producer with a background in education. At the time, Cooney was working for WNET/Channel 13, where she produced public affairs programming, including an Emmy Award-winning documentary about poverty in America. The guest list at the dinner party included Lloyd Morrisett, vice president of the nonprofit Carnegie Corporation. As the conversation turned to television, Morrisett shared that his young daughter was so mesmerized by TV that she would sit and stare at nothing but the test pattern. Morrisett, who was also a psychologist, wondered whether the medium could be used to teach children.
Inspired by the conversation, Cooney went on a three-month trip around the country to interview educators, psychologists, television producers, and more. The result was a study called “The Potential Uses of Television in Preschool Education.” It proposed a new kind of children’s television program — Cooney envisioned a fast-paced format similar to a sketch comedy show. She wanted to foster a strong connection between the show’s characters and the audience. And most of all, she wanted it to teach the young minds that would be watching, especially kids from lower-income and marginalized communities who often slipped through the cracks.
The yet-unnamed show went into development at the newly formed Children’s Television Workshop (now known as the Sesame Workshop). Morrisett helped raise the funds to make it happen, and in 1968, Cooney hired Jon Stone from the children’s show Captain Kangaroo to produce and direct the project. That summer, Stone brought a former colleague, a puppeteer named Jim Henson, to one of Cooney’s workshops. Together, Stone and Henson produced a pitch reel for the show featuring some of Henson’s Muppets, including Kermit the Frog and Rowlf the Dog. “Hey, Rowlf, why don’t you call your show ‘Sesame Street’?” Kermit says in the reel. “You know, like ‘Open Sesame’? It kind of gives the idea of a street where neat stuff happens.”
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“Sesame Street” Is Born
Sesame Street debuted on November 10, 1969, and its brownstone-lined city street set and Henson’s colorful puppets became an immediate fixture in American homes. Kids and parents loved it; critics largely did too, even though there were some questions about whether a show tailored for short attention spans might lead to a generation that lacked focus. (That issue is up for debate, but many studies over the years have found that watching the show helped prepare children for school.) Additionally, despite Sesame Street’s legacy as a diverse and inclusive show, it initially faced criticism for its lack of representation of Latino people in its first couple of seasons. The show listened to its audience, and in its third season, added the characters Luis (Emilio Delgado) and Maria (Sonia Manzano), who became beloved cast members for decades. The show continues to embrace diversity and inclusion to this day.
The biggest stars of Sesame Street were not the human cast members, however, but Henson’s beloved Muppets. The distinctive puppets had personalities and backstories all their own, and were created with specific educational goals in mind. Big Bird, for instance, is a 6-year-old preschooler, and was designed to help children develop reasoning skills. Bert and Ernie represent cooperation, and Cookie Monster, well, Cookie Monster just likes cookies — a relatable motive for any preschooler. New puppets have been added throughout the years — the Count arrived in season 4 to teach math skills, while the empathetic Elmo became a mainstay in 1980 — but most of the core characters remain fixtures on the show after more than 50 years.
During the show’s development, psychologists advised not to have the Muppet characters interact with the human cast; they believed mixing fantasy and reality would cause confusion. But test screenings showed that scenes featuring only human cast members scored low. In a last-minute attempt to improve the show before it debuted, the team went against the professional advice and remade the puppets so they could walk and talk with the human cast. Months before Sesame Street went on air, the show created what author Malcolm Gladwell has called “the essence of Sesame Street — the artful blend of fluffy monsters and earnest adults.”
Since its debut in 1969, Sesame Street has embraced music as a powerful tool for both education and entertainment. The show’s musical segments are not mere jingles; many have become iconic songs and cultural touchstones. “Rubber Duckie,” “C Is for Cookie,” and “Sunny Day” (the show’s theme song, also known as “Can You Tell Me How to Get to Sesame Street?”) have transcended generations. Musical guest appearances by stars from Stevie Wonder to Johnny Cash, Bruno Mars to the Chicks, and Ed Sheeran to Destiny’s Child, have enriched the show’s musical repertoire and helped it appeal to a broader audience.
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Lasting Impact
Now in its 54th season, Sesame Street has become part of the American cultural fabric. As of 2023, it has won more than 216 Emmy Awards, 11 Grammy Awards, and two Peabody Awards. It is broadcast in around 150 countries, and boasts more than 30 international versions. Even as one of the longest-running TV shows in U.S. history, the pioneering series remains iterative and collaborative, reflecting changes in the world not just in its story lines and characters, but also in the show’s format. In recent years, the show has introduced a character with autism, as well as one experiencing housing and food insecurity; it now also integrates modern technology, including a smartphone character named Smartie. Through all of the changes, Sesame Street continues to create an engaging and playful imaginative environment while staying true to its educational mission.
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