Count von Count, the beloved, number-obsessed vampire, officially joined the vibrant cast of Sesame Street on November 27, 1972, during the show’s fourth season. Born from Sesame Workshop, a pioneering non-profit educational organization, Sesame Street emerged during a tumultuous period in American history, marked by the Watergate scandal and the ongoing struggles of the Civil Rights Movement. Expanding its reach globally, Sesame Street, initially conceived as an “American experiment” when it first aired on November 10, 1969, rapidly evolved into a celebrated “international institution” broadcast on public television (Gettas).
Designed to bridge early numeracy and literacy gaps for children from low-income backgrounds, Sesame Street has blossomed into a global phenomenon, reaching an average of 8 million viewers weekly in the US alone. Furthermore, its impact extends through over 20 international co-productions. For over four decades, this iconic program has enriched the lives of millions of children across approximately 115 countries, and its influence continues to grow as it delivers invaluable academic and pro-social lessons.
From 1972 to 2012, the Count was voiced by the talented Jerry Nelson, and subsequently by Matt Vogel starting in 2013. He is wonderfully described as “a Dracula type who had no interest whatever in things vampirish, but who was fixated on counting things, and if he had counted it before that was O.K., he would count it again” (Lahey). His iconic introduction, “They call me The Count because I love to count things,” is instantly recognizable to generations of viewers. Amidst the diverse characters inhabiting Sesame Street, the Count stands out as the sole mythical monster deeply rooted in pop culture and folklore. This unique choice begs the question: what significant purpose does the inclusion of a vampire serve in a children’s television program, both historically and for future generations?
The Count’s Classic Vampire Roots
Count von Count is arguably one of the most faithful portrayals of traditional vampires in television. He embodies the classic vampire archetype with his signature fangs, flowing cape, and elegant monocle. His Transylvanian accent, impeccably reminiscent of Bela Lugosi’s iconic Dracula from the 1931 film, further solidifies this connection. True to vampire lore, the Count resides in a quintessential creepy, gothic castle, complete with cobwebs, bats fluttering in the shadows, and mirrors that, of course, fail to reflect his image.
Alt text: Count von Count, a purple vampire character from Sesame Street, smiles broadly surrounded by his bat friends in his castle.
Echoing the aristocratic vampires of past narratives, Count von Count enjoys the affections of several captivating Countesses, including Countess von Backwards, Countess Dahling von Dahling, and Lady Two. He serenades these romantic interests with charming, Central European-themed songs, such as “Baby, You Can Count On Me,” “The Transylvania Love Call,” and “Count Up To Nina.” The Count’s romantic pursuits, unique among Sesame Street characters, suggest a playful nod to the passionate nature often associated with vampires. It seems the Count is never truly alone, always finding solace and joy in counting, whether objects or potential paramours.
Arithmomania and Vampire Lore
Becca Wilcot, in her book “Truly, Madly, Deadly: The Unofficial True Blood Companion,” highlights a fascinating traditional vampire trait perfectly embodied by Count von Count: his notorious counting compulsion. This characteristic aligns with a specific type of obsessive-compulsive disorder (OCD) known as arithmomania, a mental condition that drives individuals to obsessively and meticulously count objects in their environment (Nuzum). (Whether the Count also exhibits signs of schizophrenia is a separate, intriguing discussion). This counting compulsion isn’t just a quirky character trait; it’s deeply rooted in Eastern European vampire myths, where vampires were often depicted as obsessive-compulsive creatures. “Vampires are compelled to count the seeds or the holes in the net, delaying them until the sun comes up,” Wilcot notes, referencing traditional folklore.
This folkloric detail served as a clever method for potential victims to escape a vampire’s clutches. By scattering seeds or nets, they could distract the vampire, whose compulsive need to count would delay them until the sun’s life-giving rays appeared. In several Sesame Street episodes, the Count’s counting fixation humorously thwarts any potential “vampiric” urges he might have towards his neighbors like Cookie Monster and Oscar the Grouch. His attention is easily diverted by anything countable, often against his own supposed “vampire” instincts. Scholars and critics propose that this deliberate design of Count von Count serves a dual purpose: to introduce children to vampire mythology in an accessible way while simultaneously teaching basic mathematics.
Alt text: Count von Count and Ernie, from Sesame Street, enthusiastically count bottles together, highlighting the Count’s love for numbers.
From Fear to Fun: The Evolution of Vampires in Media
Cheryl Atwater, in her essay “Living in Death: The Evolution of Modern Vampires,” argues that the myth of vampirism has undergone a significant transformation, shifting from an object of fear to a romanticized and even desired figure. Post-19th century, vampires have been “adapted for the purpose of entertainment” (Atwater). Count von Count perfectly exemplifies this shift. He possesses a distinct personality and agency, using his intellectual prowess and mathematical knowledge to engage with the Sesame Street community. As Louis H. Palmer III notes, “Vampires were now teachers as well as product salesman. Although they still featured scary settings— crumbling castles and dark, stormy nights— the vampire was out of any context that might link him to death or bloodletting” (Palmer). Sesame Street, while operating within the framework of commercial television, is fundamentally built upon educational content. To effectively engage its young audience, the show recognized the need to incorporate “talent, music, and use of commercial entertainment features such as cartoons, puppets, [and] slapstick humor” (Tierney).
Count von Count and Child Development
In “An Adolescent Vampire Cult in Rural America: Clinical Issues and Case Study,” Thomas W. Miller and colleagues suggest that Sesame Street’s inclusion of Count von Count reflects the media’s broader fascination with vampires and their potential appeal to young audiences. “For the young and vulnerable child or adolescent in search of bonding with peers, the mystery of vampirism permits a bonding opportunity with peers in search of their identity as adolescents” (Miller). Sesame Street’s incorporation of urban slang and depictions of city life during the urbanization trends of the 1960s-1990s further enhanced its relatability to young viewers (Tierney). In vampire narratives, the setting shifted from rural, isolated locales to more urban environments, offering vampires new hunting grounds (Atwater). Amidst a cultural landscape increasingly focused on psychoanalysis and self-help in shaping individual identity, a character like Count von Count emerged as a seemingly ideal figure for children’s education.
Count von Count in the 1970s: A Decade of Vampire Popularity
The 1970s witnessed a significant evolution in vampire narratives. Instead of solely emphasizing vampires as menacing foreign invaders, narratives began to forge a connection between these creatures and the audience, detaching them from their purely historical and mythical origins. This era marked the dawn of vampire humanization, focusing on their inner lives and experiences. Prior vampire portrayals often relied on external judgments and fears. However, as Liisa Ladouceur observes, “Over time, the traditional cultures and imaginations of various writers have brought new (and sometimes contradictory) dimensions to the legend” of the vampire (Ladouceur). By softening the horror aspects, writers resurrected the vampire in popular culture, exploring their origins by imbuing them with relatable human characteristics.
Count von Count, in line with the 1970s vampire trend, exhibits a range of human emotions, thoughts, and desires. He expresses frustration when he can’t find anything to count, and joy when he successfully completes a counting task. His passion for counting and his pride when others join in highlight his endearing, almost childlike enthusiasm. Presenting the Count in this way effectively dispels negative stereotypes often associated with vampires, such as eroticism, violence, and pedophilia. Count von Count challenges children’s binary understanding of good and evil, encouraging them to see beyond surface appearances and recognize that characters like the Count can be misunderstood and deserving of compassion. This fosters the development of empathy in young viewers.
Louis H. Palmer III suggests that the introduction of campy vampire figures like Count von Count and Count Chocula in the 1970s significantly reshaped children’s perceptions of vampires in television. Jay Cridlin, in an article for the St. Petersburg Times, playfully argues that the mid-1970s were the golden age for vampires in pop culture: “From 1971 to 1976, America bore witness to the unholy rise of Count Chocula; Sesame Street’s Count von Count; Anne Rice’s Interview with the Vampire and Stephen King’s Salem’s Lot; and, of course, Blacula. For some reason, swarthy Euro dudes in capes really had the run of the place during the swinging ’70s” (Cridlin).
Nina Auerbach, author of “In Our Vampires, Ourselves,” posits that the 1970s also ushered in a more progressive and sensitive approach to masculinity, a mold that vampires, as “masters of the night,” seemed to fit (Cridlin). Heidi Louis Cooper believes that following the assassinations of Martin Luther King Jr. and President John F. Kennedy in the preceding decade, a program like Sesame Street was precisely what society needed. In the wake of Watergate, Americans yearned for trustworthy leadership. Auerbach suggests that “In the 1970s, humans and vampires seem to cry together for a leader, a master-vampire who will guide them beyond the corrupt morass of muttering voices that supposedly constitutes authority” (Cridlin). For children, Count von Count could embody that reassuring figure, helping them conquer the daunting “numbers” of their own anxieties.
A 2011 BBC article highlighted a survey in which mothers largely considered the 1970s and 1980s the ideal decades to raise children. With potentially fewer workplace pressures and more family time, these mothers also emphasized the importance of “support networks for help in bringing up their children, with some 68% using technology” (BBC). Sesame Street likely provided a valuable form of support for mothers in American households, easing the challenges of childcare.
Perceptions of the Modern Vampire: Comedy over Horror
By portraying vampires as comedic characters, like Count von Count, their perceived threat diminishes significantly. This comedic approach softens their horror reputation, making them less frightening to children. The Count’s harmless nature stems from his educational mission. The more children laugh with him, the more they trust him. Ralph Blumenthal, in “A Fear of Vampires Can Mask a Fear of Something Much Worse,” contends that vampires can play a crucial role in helping children confront their fears. “Children like Sesame Street’s humor, tempo, characters, stories and songs” (Gettas). While Count von Count may sometimes isolate himself in his castle, the other friendly Sesame Street residents never ostracize him, demonstrating acceptance and inclusion.
Despite his popularity, Count von Count’s character underwent changes. Initially, his entrances were more dramatic and spooky—accompanied by thunder, lightning, and eerie organ music, he would count manically and cackle. His debut episode explicitly showcased his single-minded focus on counting. When Ernie and Bert built a block pyramid, the Count promptly knocked it over to count the blocks, disregarding their feelings or possessions. Bert laments, “Ernie wanted to say that you should leave those blocks alone. Leave things where you find them.” The Count, unrepentant, simply continues counting. In another early episode, he defiantly proclaims “I will never give up!” to a pleading Susan Sarandon, who desperately tries to stop him from knocking on the door of his castle on a stormy night.
This initially aggressive and overwhelming portrayal of Count von Count unsettled children, prompting parental complaints. Consequently, his character became less overtly scary. Instead of imposing his counting on everyone, the Count adopted politeness, incorporating “please” and “thank you” into his interactions. He also became less sinister in appearance and abilities – now capable of walking in daylight, and stripped of hypnotic powers and shapeshifting abilities. The Count was, in a sense, domesticated and toned down to enhance viewer comfort, but this adaptation didn’t diminish his core character or purpose.
Count von Count: Vampires and Society
Interactions with Count von Count on Sesame Street teach other characters, and by extension, young viewers, the importance of compromise. To engage with him, they must adapt to his counting compulsion, demonstrating a concept known as social determination. Matt Flanagan explains social determination as the idea that “social interactions and constructs alone determine individual behavior (as opposed to biological or objective factors” (Flanagan). Encountering “monsters” like the Count provides children with valuable coping mechanisms for navigating the complexities of the real world (Nuzum). Count von Count, once potentially perceived as a menacing figure, now positively influences children to embrace counting and find satisfaction in completing numerical tasks. His “vampirism” manifests not in bloodlust, but in a thirst for mathematical completion.
Vampires, Otherness, and Race Relations
Throughout various narratives, vampires frequently represent “otherness” within society. Therefore, it’s a plausible interpretation that Count von Count and the other “monsters” on Sesame Street serve as metaphors for marginalized groups within a community. Through these fictional characters, viewers can explore themes of racial politics and ethics. “The vampire serves as a disruptive detail that destabilizes the sanitized, conventional and standardized world” (Palmer). Historically, minorities were often cast in the role of monstrous figures in narratives. Heidi Louise Cooper notes that “Sesame Street seeks to re-craft the meaning of monstrosity,” and characters like Count von Count also serve a “cautionary function,” promoting tolerance and illustrating the consequences of prejudice.
Sesame Street intentionally portrays a multicultural community, showcasing diverse racial and ethnic backgrounds coexisting harmoniously. This diverse cast deliberately teaches children to embrace differences and underscores the importance of equality. They learn to sympathize with the “monstrous outsider” and accept him as a playmate, extending premature love and affection.
Although overt discrimination seemed to be receding with the end of segregation, race relations remained strained in the US during the 1970s. Violence stemming from prejudice was a stark reality in many cities. However, “the daily impact of television helped make blacks, seen in shows and commercial advertisements, seem an integral part of a pluralistic nation” (Scholastic). Sesame Street was groundbreaking as one of the first US television programs to feature African-American actors in positive, leading roles (Cooper).
While the show avoids explicit racial representation to prevent perpetuating stereotypes, it consistently promotes diversity through its cast. Sesame Street has always championed interracial harmony and “the social responsibility to provide equitable, high-quality education for all children” (Cooper). It was arguably the first public television program in American history to be intentionally over-inclusive in terms of race.
Exposure to Sesame Street fostered children’s self-awareness and boosted their self-esteem, encouraging them to take pride in their identity regardless of skin color. “Sesame Street helps [children] learn their alphabets and numbers, practice good health habits, and appreciate the richness and diversity of their local cultures and traditions” (Gettas). Count von Count, despite being a “monster,” is treated with the same respect and affection as any other Sesame Street resident, highlighting the show’s commitment to friendship and acceptance.
The Equal Rights Amendment passed in the US in March 1972, coinciding with Count von Count’s introduction. Whether intentional or coincidental, this timing is relevant to how Count von Count is presented and perceived. While affirmative action programs aimed to benefit privileged populations, Sesame Street catered to society’s underrepresented. The program continues to offer positive role models to children both domestically and globally.
Conclusion: Count von Count’s Enduring Legacy
Children are profoundly influenced by television, and engaging programs like Sesame Street demonstrably impact their behavior, social development, and cognitive skills. Sesame Street presents positive role models and valuable life lessons that children can readily apply. Count von Count, in particular, reinforces the power of knowledge and the importance of acquiring fundamental mathematical and life skills.
As society evolves, Count von Count continues to reflect these changes. No longer a figure of fear, he welcomes his Sesame Street neighbors into his castle with open arms and a friendly, albeit fanged, smile. Despite living alone, he cherishes his bat companions, giving them names and affection, and enjoys a string of romantic interests. Contrary to stereotypical vampire depictions, Count von Count is remarkably family-friendly. His true “bite” is a bite of knowledge, something to be embraced, not feared.
Once potentially viewed as an outsider, Count von Count never resorts to negativity, instead embodying problem-solving and positive engagement. While Sesame Street’s racial representation is nuanced, the show overall excels at promoting inclusivity within an integrated urban setting. Multiculturalism remains a cornerstone of American society and a vital element in media and entertainment.
Count von Count champions equality and acceptance. He is a multifaceted character: a response to his cultural origins, a romantic figure, a representative of “otherness” who transcends marginalization, and a dedicated educator in mathematics. For children seeking a positive role model, Count von Count offers dependability and valuable lessons. While he may have his quirks, he is a character viewers can consistently count on to guide them in the right direction. Ultimately, Count von Count is far more than just a number-obsessed vampire; he is a symbol of positive representation and enduring educational value.
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