In this 1973 photo
taken at the University of South Dakota, Fred Rogers entertains children at a Mister
Rogers Day celebration.
followed—telling himself that he was in a room speaking personally to each child in his audience.
Fred Rogers was influenced in his approach to children by a boyhood memory of something his grandfather said to him. One day, when Rogers and his grandfather were spending some time together, his grandfather said: “You know, you made this day a really special day, just by being yourself. There’s only one person in the world like you. And I happen to like you just the way you are.” Those affirming
words remained etched in Rogers’ memory and he realized that an expression of sincere ac- ceptance would be appreciated by any child. So, Rogers decided early in his career as a televi- sion host that he would commit himself to affirming children, de-
A Great Career
He applied that philosophy to the people who worked with him as well. He always encouraged his colleagues to be themselves and focus upon their strengths, gifts, and incli- nations. Rogers’ approach was influential with Johnny Costa, the jazz pianist whose music became the soundtrack to Misterogers. In 1965, when Rogers invited Costa to provide music for the Misterogers show, the pianist wasn’t sure he would fit in: “When I first started to work with Fred, I was a
ever give is your honest self.” “The greatest gift you —FRED ROGERS
veloping their self-esteem, and teaching them vital values for living. “I didn’t need to put on the funny hat or jump through the hoop,” he said. As his television program began to build an audience, Rogers received an offer to move his show to network television. Talks were proceeding well until a network ex- ecutive asked him what kind of costume he would wear to entertain the children. Recalling this episode years later, Rogers said: “I told him: ‘I really think that our interview is over.’ The greatest gift you can give anyone is your honest self. It’s the only unique gift anyone can give. Whatever I did, I would have to be myself, because I believe that is what children respond to.”
T H E E L K S M A G A Z I N E
real jazzer, and I thought: I don’t know. A children’s program?” But Rogers liked Costa’s music and told him not to change a thing. Costa said that this affir- mation and freedom made all the difference. “I just went with the things I’d been playing, that
I wanted to play, and so, when I played, I didn’t do it for the ears of a child. Fred loved it, and I kept doing it, and the people loved it.”
After working on Canadian television for three years, Rogers acquired the rights to Misterogers, and in 1966 he arranged to have the production of the show moved to WQED in Pittsburgh. At WQED, the show was renamed Misterogers Neighborhood. In 1968, the show was made available nationally through National Educational Televi- sion, which became the Public Broadcasting Service in 1969. The name of the show was changed again, to the more familiar title of Mister Rogers’ Neighborhood. Three decades and nearly 1,000 episodes later, Fred
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PHOTO: ©BETTMANN/CORBIS
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