For many who grew up in the pre-digital era, the advent of platforms like YouTube has been a treasure trove, unlocking nostalgic memories from our childhood. Among these cherished throwbacks, Sesame Street segments hold a special place. For those of us tuning in as kids, there were always particular shorts we eagerly anticipated. For this writer, it was always the captivating Sesame Street film segment, “Milk”. Rediscovering this gem online after years of forgotten fondness was an emotional experience, a sentiment echoed by many online commentators.
One comment, in particular, stood out, identifying Robert Dennis as the composer behind the segment’s enchanting music and linking to his impressive biography. Dennis’s portfolio showcases a remarkable range, from compositions for the Denver Project and the New York City Opera to scores for renowned orchestras like Cleveland, Chicago, and Louisville. His theatrical and film work is equally extensive, encompassing productions at prestigious venues such as the Arena Stage and the Guthrie Theater. Intriguingly, three of his eight scores for Pilobolus were featured on the PBS series “Dance in America.” His diverse talent is further highlighted by “Man in the Moon,” a CD compilation of his works for the Western Wind Vocal Ensemble.
Driven by curiosity about the iconic “Milk” Sesame Street film segment, an email interview was arranged with Robert Dennis himself, focusing specifically on his contributions to “Milk” and Sesame Street.
The Musical Team Behind “Milk”
Ethan Iverson: Who were the musicians who brought the music of “Milk” to life?
Robert Dennis: The session featured a small but incredibly talented ensemble: Paul Dunkel on flute, Leslie Scott on bass clarinet, and the vocalist Leslie Miller. Paul Dunkel remains active as a flutist and conductor, while Leslie Scott is a highly sought-after freelance woodwind player. Leslie Miller was an inspired choice for vocals; at the time, she was a leading commercial singer in New York. She grasped the essence of what was needed instantly and delivered perfectly with minimal direction.
This insight reveals the caliber of musicianship that went into even short Sesame Street film segments, emphasizing the commitment to quality that defined the show.
Crafting the Lyrics and the Score
EI: The gentle lyrics of “Milk” are integral to its charm. Who was responsible for writing them?
RD: I penned the lyrics myself. Interestingly, the director suggested a subtle but effective change. My original phrase was “cool and white,” which he refined to “warm and white” – a definite improvement that enhanced the comforting tone of the Sesame Street film.
This anecdote provides a glimpse into the collaborative process and attention to detail that shaped even seemingly simple elements of Sesame Street film segments. The focus on “warm and white” underscores the segment’s intention to evoke feelings of comfort and nourishment.
EI: “Milk” feels substantial in length compared to today’s fast-paced media. Did you compose the music before or after seeing the completed film, and what was your composing timeframe?
RD: The film came first. I scored it afterward, working with time-sheets after several screenings. Remember, this was before VCRs were commonplace! The deadline was quite tight – just two to three weeks to score “Milk” along with three other Sesame Street film segments: “Elk Feeding,” “Sheep Feeding,” and “Cow Feeding.” All four used the same instrumental combination, minus the vocal element in the feeding films.
The pre-VCR context highlights the meticulous, almost artisanal approach to filmmaking at the time. Scoring four Sesame Street film segments within such a short timeframe is a testament to Dennis’s efficiency and talent.
Jazz Influences and Recording Details
EI: The score’s style, particularly the use of the Rhodes piano, hints at a jazz sensibility. Is jazz a professional background for you?
RD: While I appreciate and am influenced by jazz – who isn’t? – I’m not a jazz musician by profession. Jazz’s harmonic language and improvisational spirit undoubtedly seeped into various musical styles, including scores for Sesame Street film segments.
This clarifies the jazz influence while positioning Dennis primarily as a composer with diverse influences rather than a jazz musician specifically. It broadens the understanding of his musical background and how it informed his Sesame Street work.
EI: Where did the recording of “Milk” take place, and how long did the session last?
RD: “Milk” and the other feeding films were recorded at Chelsea Sound, a wonderful, budget-friendly studio on West 14th St. in New York – sadly, it’s no longer around. All the music for the four Sesame Street film segments was recorded in a single three-hour session. That’s the advantage of working with top-tier musicians and a skilled engineer like Jonathan Thayer, with whom I collaborated for many years.
The details about Chelsea Sound provide a touch of New York City music history. The three-hour session underscores the efficiency and professionalism of everyone involved in creating Sesame Street film music.
Beyond “Milk”: Other Sesame Street Contributions
EI: Besides “Milk,” what other Sesame Street film shorts did you score?
RD: I created and performed the music for the ten “Mad Painter” films, featuring Paul Benedict as the endearingly clumsy painter who numbers everything in sight. For these, I used a “tack” piano, which had previously belonged to the Roxy theatre. The ten pieces were thematically linked but fully composed, not improvised. Like “Milk,” the “Mad Painter” Sesame Street film segments were aired for many years.
This expands Dennis’s Sesame Street film legacy beyond “Milk,” revealing another significant contribution to the show’s musical landscape. The “Mad Painter” segments are also fondly remembered by many, further cementing Dennis’s impact on Sesame Street.
Unearthing the Details of “Milk”
EI: Credits for “Milk” are elusive. Do you recall the year of production?
RD: February 1975.
EI: And who directed and produced this memorable Sesame Street film?
RD: Fred Wardenburg held both roles.
EI: Do you know the filming location for “Milk”?
RD: I vaguely recall Pennsylvania being mentioned, but I’m not entirely certain.
EI: Whose initial concept was the “Milk” Sesame Street film?
RD: I wasn’t involved in the initial idea generation process.
These questions delve into the production specifics of the Sesame Street film “Milk,” uncovering details that are not readily available elsewhere.
Sesame Street’s Reception and Dennis’s Perspective
EI: Was there any notable internal response or discussion about “Milk” within CTW (Children’s Television Workshop, now Sesame Workshop) that you can share?
RD: I only heard indirectly that the CTW team was pleased with “Milk,” which is likely why they continued to use it for so many years. I never had direct communication with them about “Milk” or any other work. We jokingly referred to them as the “WPA” because they seemed to spread work around, avoiding over-reliance on any single talent.
The “WPA” anecdote offers an insider’s perspective on CTW’s working culture, suggesting a collaborative and inclusive environment that valued diverse contributions to Sesame Street film and other content.
EI: Had you been asked about “Milk” much before this interview?
RD: Until it surfaced on YouTube a month ago, no one had ever inquired about “Milk.” It’s quite unpredictable! I’ve always personally liked it, and I still have the score and recording.
EI: Finally, is the title of your score simply “Milk”?
RD: While YouTube sometimes labels it “Milk Crisis,” “Milk” is the only title I ever knew.
Robert Dennis’s concluding remarks highlight the unexpected resurgence of interest in “Milk” thanks to online platforms. His continued fondness for the Sesame Street film segment, coupled with the preservation of the score and recording, underscores its personal significance to him. The interview as a whole sheds light on the artistry, collaboration, and even serendipity that contributed to the enduring appeal of this classic Sesame Street film segment.
(Originally posted January 2007.)
