well ever since trance.nu went down, i thought i'd give this forum a try. ive been away for a while, and im slowly getting back into trance. so whats going on in the scene now? i heard that tiesto is getting into house now.. is that true?
Posted by ziptnf on Nov-12-2011 20:46:
So I was out last night, dancing, drinking, dancing, more drinking, I ended up getting wasted, far too drunk for my own good, making a fool of myself. Hot daddy in suit, must have been about 40, charmingly good looks, asks me if I'm ok.
"I'm fucked" I slur back at him smiling.
He pulls me close to him and asks "Do you have somewhere to go?" looking genuinely concerned.
Now, Hot Daddy is wearing a suit, but I can tell he's got a nice body underneath it, so I decide to put on the lost drunk guy act, I was drunk, and a guy, but not lost, I live about 10 minutes away from where we were.
"I think my friends have left, I could get a taxi home I guess..." my voice trailed off, I made myself look worried.
He must have been drunker than I thought, trying to be the knight in shining armour, "I've got a hotel room you can stay in if you're stuck for somewhere, I could do with the company, I'm in Manchester on business." I wondered for a second if he thought I was a rent boy.
I looked up at him from puppy dog eyes "I dont normally go home with guys."
"I'll be a perfect gentleman" He promised.
"Ok" I said mock-begrudgingly, I hoped he wouldnt be a gentleman.
As we walked out I saw my friends having a smoke outside, I gave them a wink and they let go without saying anything. We rounded the corner to Hot Daddy's hotel, all the while him talking about why he was in town, I have no idea what he was going on about.
We got to his hotel, me the party boy, him man in suit, we got some strange looks. His room was quite large, big bed, sofa, flatscreen TV and a good view of the city. Once alone he didnt seem to know quite what to do with himself. I decided to make it a little easier for him, I knew what was on his mind the way he had to adjust himself before he sat down.
I looked out of the window "Oh you can see my gym from here" I pointed.
He got up and came to see " You work out?"
I lifted my t shirt revealing my smooth tan abs, not overly muscley, but toned. "Four times a week" I said. His eyes smouldered. "You?" I said as I reached out and pulled his shirt up. I was greeted with a beautiful stomach, 6 pack, some hair on there, leading down to what I would find out later was a neat, trimmed bush above a beautifully large cock. I bit my lip "Oh yes, you work out."
I couldnt resist anymore, I kissed that handsome ******, giving him the green light to stop being a gentleman. His hands roamed my body, as mine did his, his hand slipping under my waistband, revealing I wasnt wearing any underwear. Gentleman to horny ****** in 10 seconds, his finger pushed into my hole causing me to grunt as my lips mashed into his stubbled face.
He pulled my shirt off and dragged me to the bed, quickly shedding his shirt and tie. My jeans were off, I'm not sure which of us removed them, but my dick was now in his hand as we kissed. I kissed down his body, that lovely hairy chest tickling my face as I went down. I reached his trousers and began to take them off as he said "This really isnt why I brought you here" thought closed eyes. Underwear and trousers off at the same time, his engorged 10 inch dick sprang to life. I could just about get the top into my mouth, I wanked him and licked his balls, his cock leaking precum, lovely.
He roughly pulled me up, leaving a trail of precum from my chin down my chest and kissed me. "Get on your front" he ordered. Thinking I was bound for a rough fuck from this monster cock, I was surprised to feel his tongue working its way down my back, his finger, now lubed from somewhere, working into my hole. I looked to my left and saw a tube of cherry flavoured lube, and on the wall behind, a large mirror, in which I could see Hot Daddy, sat up as he fingered me, a look of pure lust on his face as he watched now three of his fingers disappearing into me. The fingers were removed and replaced by a tornado of a tongue. The fact I get fucked almost every day and the fingers also, had opened me up pretty good, so his tongue got in quite deep for a tongue. I pushed back, loving the feel of his stubble on my arse valley.
My eyes closed, I moaned into the pillow as Hot Daddy did wonders to my hole. He stopped a second then continued. I heard sloppy wanking noises, I checked and saw the lube was gone, he had taken it in that second when he stopped. He crawled up my body, his lips level with my ear now, his cock head hovering over my arse cheeks.
He whispered, "I hate to tell you this, but I've forgotten my condoms, do you have any?"
"Nah, fuck me anyway, I love it bareback" I answered honesly, he hadnt gone this far not wanting to cum in my arse.
"You sure?" He said sliding his cock into my hole. I answered my pushing back, my arse swallowing his massive dick. He started off with slow strokes, long dicking me, letting me get used to his size, not that I needed it. I pushed back into him, trying to let on that he could give me more, but he just didnt get it.
"Fuck me hard" I pushed back, forcing us into doggy position, his hand instinctively holding my waist. This seemed to switch something in his head.
He leaned down, as much as he could impaling me on his dick, "You like it hard?" On the word hard he pulled almost all of his cock out and slammed back into me again, causing me to answer with another moan, this time louder, "Right" was all he replied as he started to piston in and out of my hole. I was in another world, his left hand on my shoulder, right right holding my hip. We carried on like this for about 20 minutes, he never once lost rhythm. I was watching him in the mirror, his body flexing as he pounded into my hole.
He unceremoniously pulled his dick out of me and flipped me over, before I could raise my legs to present my wet arse to him he had hold of my ankles and was pushing his bare dick into me, I loved the feel of his cock skin on my hot insides. He lent down, his forehead on mine, his hot breath on my face as he fucked me. "That ok?" He said between breaths.
"Yeah" I said, grinning as I wrapped my arms around his back, my hands on the back of his neck.
"Tell me you love my hard cock inside you" Oh, he wanted it verbal.
I was down with that, "I love your hard cock inside me, fucking me stretching me." This seemed to spur him on. "You're hot bare dick inside me, fuck me all night."
He leaned up, my ankles now on his shoulders, looking down at his cock sliding in and out of my hole, "You like it bare?" He asked, slowing his speed.
I felt at my hole, his cock sliding along my finger as it entered me, "I love it."
He pulled almost all of his dick out of me, leaving his bulbous head at my ring "When did you last use a condom?" He slammed his cock back into me, probing my inside as he probed me with questions.
"Every guy who has fucked me has cum in me." I said flatly.
He sped his pace a little, "Do you want me to cum in you?" I just smiled back. His pace gaining again, chest and abs flexing, massive arms holding my legs.
I needed no encouragement, but I think he did, "Cum in me, give me your load." He was back to a lightning fast pace, my own load building up inside me, I felt my cock shoot, spunk flying over my chest, hitting my chin, pecs and stomach. I scooped some up and licked it, making him kiss me and lick my spunk of my chin. "Fuck me..." I realised I didnt know his name, "hard, cum in my hole."
He was going at break neck speed now, a sheen is sweat covered him, my spunk covering me. "I'm going to cum in you, you want it?" My moans must have been heard all over his hotel.
"Fucking breed my hole." I snarled at him.
He stiffened slightly, his muscles going taught for a second, "I'm going to give you a big load you little bareback slut." With that he slammed into me over and over, I felt his cock pulsing, he delivered as he promised. He buried his head into my shoulder, releasing the last of his spunk into me.
We both lay there panting, his cock still embedded inside me, my legs still up. He slowly moved up, my jizz now in his chest hair, and slid his still mostly hard dick out of me. I felt slightly empty now. I felt at my hole, oozing a little with with his load, I slid a finger in and out, then licked it, tasting his load, the cherry lube and my hole. His post cumming high on him, he looked on in wonder and did the same thing, but smeared his cum on my lips and kissed me.
He lay down beside me, his cock standing to attention, although less turgid now. "You have an amazing arse." He finally broke the silence, "Not many guys can take my dick."
I came clean, "I get fucked almost every day, I'm well practiced."
"All bareback?" He seemed intregued with the idea.
"Yeah" I answered.
"Can I fuck you again in the morning?" He sounded like I might say no.
I fingered my hole again and licked his cum off my digits while he watched, "Of course."
Posted by redhorse on Nov-12-2011 20:48:
power poster haha
Posted by srussell0018 on Nov-12-2011 20:49:
Posted by ziptnf on Nov-12-2011 20:54:
Yesterday, after my boys called to wish me a Happy Fathers Day, I decided to get on line and see what was out there since I had the house to myself all day. I got myself all worked up pretty much for nothing as nobody was really doing anything. I keep looking over several sites but still came up empty. I was pretty horned up and kept rubbing my cock through my shorts but just didn't feel like jacking off and pretty much wanted a hot little mouth to take care of that for me.
After about another hour I decided to get some lunch so put on my tank top and flip flops, jumped in the car, and headed off to Taco Bell. The weather was beautiful and I had the windows down just singing along to the music of the radio. I got into the drive-through and waited my turn to order. The lady taking the order was very nice and after taking my order directed me to the window for payment and pick up. I pulled forward and waited for the couple of vehicles a head of me to clear and then pulled up to the window.
I reached for my wallet and grabbed some cash and when I sat back up this young little stud, who couldn't have been more than 22, was hanging half way out the window with a big ole grin and asked how I was doing. Not thinking anything about it I responded it was a good day and he quickly agreed. He told me how much and I handed him some money and then he disappeared back through the window. After a few minutes he appeared out the window again with my change, in which he felt the need to count every bit of it back to me. Now that hit me a bit strange but I thought he was cute enough so didn't worry about. He then handed me my food bag and then shouted 'Oh wait, don't forget your receipt'. Well I put my bag in the passengers seat and when I leaned back up he was almost out of the window with the receipt right in my face. He told me to make sure I reviewed my receipt and if anything was wrong to please let him know. By this time I was a bit spooked about him getting that close to me so I said OK, took the receipt, and then started to drive off.
Well I had already known my order was correct so I wasn't really going to pay that much attention to the receipt. But when I went to place it in the bag I noticed there was some writing on the back side of it. I turned it over and was in shock as to what it said. The note read exactly as follows. "If you want that thick cock head of yours sucked after three p.m. today give me a call at (number hidden because I don't want anyone to have it. LOL) signed Jason. I thought how in the world would he know about my cock and then I looked down at my shorts and sure enough my cock head was sticking out of the bottom. At first I was in shock and then I just started laughing almost to the point to where I would have to pull over.
Well it was about twelve thirty when I got home so I went ahead and ate and then took a shower and thought I would just think about it as I have never done anything like this before. But in the shower every time I thought about him leaning out the window I realized he was getting a closer look at my cock head and then my cock would start to stand to attention in the shower and I would have to think about something else.
Three o'clock rang on the clock and I thought should I really call this boy? Then my cock started to stiffen again and I knew what I had to do. I think I waited until one minute after three and then dialed his number. It rings about five times and I am sure it going to voice mail then all of the sudden I hear a faint hello. Not sure what to say so I ask if this is Jason and he responds quietly yes it is and then I just blurt out "Did you hand me a note at the Tack Bell this afternoon at the drive-through around noon?" It got quiet for what seemed like five minutes but then he responds with "Yes that was me are you OK with that?". Well all fear or nervousness fell from me and I responded with "Hell Yeah, I wouldn't have called if I didn't like it" and we both laughed.
I had to ask how he saw my cock from the window and he explained that he saw my legs first, and since he liked what he saw, he wanted a closer look in which gave him an extra bonus view. I quickly told him I had no idea my cock head was showing and he replied that he could tell that because I never once looked down at my cock which made it even more enjoyable for him. I asked if he wanted to come over and he said yeah so I gave him the directions and he said he would be here in about thirty minutes.
Well now I am totally turned on and can't wait to get him in the house. The thirty minutes just flew by as there was already a knock at the door. When I opened the door there he was dressed in a nice pair of jean shorts and a very form fitting tank top. I quickly ask how old he is and he laughs and says he is twenty five but most think he is barely twenty one. As he is telling me that and I let him in the door I am eye balling him from head to toe. He is about five foot ten, very slender body, smooth arms, face and legs and a very bright smile.
I close the door behind him and when I turn around he reaches out and grabs my now stiff cock and gives it a big squeeze in which I jump and he just laughs. He quickly says he only has about an hour so wants to get right to it and with that he yanks down my shorts, slips to his knees, and then buries my cock to the back of his throat. I let out a yelp and he just moans with much satisfaction. I reach down and grab the back of his head and pull him tight up against my cock and he just moans even louder and tries to swallow my cock as if he was trying to get my balls in his mouth at the same time.
He is just enjoying himself down there slobbering all over my cock so I pull off my tank top and his hands immediately come up and starts rubbing my chest and nipples. He only comes up for air once in a while to look up and smile and then bury his face back into my crotch swallowing as much of my swollen cock as he can. I ask him if he would be more comfortable on the couch or at least the carpet to get off the hardwood floors and he quickly comes up and says let's go into the bedroom if you don't mind so I can get a taste of all this body.
I quickly help him up and lead him to the bedroom where he closed the bedroom door and then pushes me back onto the bed. He kneels down between my legs, gives me a big smile, and then once again buries my cock into the back of his mouth. Now I can hear him gag some as he tries to swallow my cock but it just doesn't seem to want to fit down his tight throat. After a few times trying this he lets off some, and with my cock still deep in his mouth, he changes his position until he has managed to climb up on the bed and lay a top my body with his very full white bubble butt now staring me in the face.
I don't even have to be directed here and quickly start massaging his cheeks and slapping them a couple of times to which I receive a few moans of approval. I slap his ass a couple more times and he comes off my cock just long enough to say yes that's it I really like that. I slap his ass a couple more time and then reach forward and place my tongue at the tip of his tight pucker hole and he squirms just a bit. I try to push my tongue in more and the tightens up his ass cheeks and I start to think perhaps he not a bottom.
So I just start licking his tight hole and he now starts to moan more and more and starts sucking my cock a bit faster. I move my fingers and start massaging his hole and I get more moans but when I try to insert a finger those ass cheeks again tighten up quickly. So I just decide to just give his tight pucker a good licking and he again goes back to the loud moans. He is sucking my cock so wet now that I can feel the blanket under my balls is now wet. I just continue to juice his hole trying to get it as wet as possible thinking I am gonna get my tongue in there at some point.
At one point I get a bit frustrated as the more I lick the tighter he seems to get. Without thinking I slap his ass cheek again only to have him moan deep and at the same time I felt my tongue move a bit further in. And then the light bulb went off and I remembered that he really likes being slapped on the ass. So I reach back and slap the other cheek a bit harder and sure enough he moaned a bit louder and my tongue inched in a bit more. Well after several more slaps to the ass his cheeks are now a glowing red and I am pushing my tongue in and out of his tight little pucker as far as I can with him now wiggling above me to the point to where I now have to put my arms around his back to hold him in place.
This goes on for about another twenty five minutes and I am at the point of movement in my loins. I am just about to move him off my now purple cock when he comes up off my cock swings his body around on top of me and gasps out that he really needs for me to fuck him right now. His face is a deep red with tears running down his face but he still has this huge grin over his face so I am thinking he is still liking what is happening to his body. No sooner after he says that, and I try to get out the words do you want a condom, he has grabbed my cock and is now placing his tight pucker hole over the large mushroom head and his eyes then dart to the back of his head as my cock head pops his cherry.
We both let out a yelp of excitement at the same time and then he just holds his ass right there and slowly starts to squeeze my cock head and my minds starts to go crazy. When his eyes come back into focus he leans down and starts to kiss me deeply with his tongue try to get to the back of my throat like he was trying to do with my cock earlier. He then grabs both my wrists and hold then on the bed next to my head and then starts to lower his ass slowly over my now quivering cock. He can see the excitement in my eyes and just gets that big grin on his face again and doesn't look away until he has buried my cock in his ass all the way down to my balls.
He then looks at me again and asked if he is doing everything OK and I just smile and say what do you think and with that he starts a slow movement up and down my shaft. Each time he would love his little pucker down over my cock he would relax all of his muscles but when he went to lift off my cock he would tighten all muscles as hard as he could and I burst out that I wasn't going to last very long this way but all he would do is smile.
After a bit he ask how I am doing and I admit that I am close and then he leans down to my ear and says the following. "I am gonna start riding your ass like that is no tomorrow but I need your help." I tell him quickly with little breath anything he wants and he continues on with "In order for him to come I need to slap his ass like I was doing before". But then he continues with don't start slapping my ass until I tell you to. I agree and he starts to increase his movement over my conquered cock that was already waiting to spit juice deep into his ass.
Surprisingly I am lasting much longer than I had expected but the whole time he is slowly speeding up his rhythm he is looking deep into my eyes. After a few more minutes he gets this evil grin on his face and tells me to start slapping his ass. I start out slowly and he winces in pain and pleasure and tells me to slap harder and harder and harder. After a few minutes I can feel my hands are now sore and red but he continues to moan and tell me to slap as hard as I can. All of the sudden he looks at me again and say you are are about to cum so come on and slap me again. All of the sudden is right I can feel my balls tighten up and I can feel very hot cum moving through my body. He starts yelling at me "yes that is it you are cumming smack my ass again damn it". I hit him one more time and both of us let out huge noises and I can feel my hot cum spilling into his ass and at the same time I can feel his own hot cum spewing onto my stomach.
My cum is so hot coming out of my cock that I start yelling and he leans down and covers my mouth dives his tongue deep to help me get through it. He also starts pumping my cock with his ass again and it actually helped to cool the cum as it continues to gush out of my cock into his tight bubble butt. My body is now shaking and his body is now shaking so we hold on tight to each other until everything starts to subside. It seems like forever but it does start to subside until the point to where he is just laying on top of me softly kissing my lips and saying "wow that was one of the hottest experiences I have had to date".
As things calm down a bit more we re-position on the bed until I am cuddling him in my arms and he is just nestled as close to me as he can get. I have been in many dad/son events before but this one really topped the cake so to speak. We lay there a few more minutes and I happened to look over at the clock and realize we have been at it for about two hours. I quickly let him know as he said he only had about an hour and he said it was OK. He only told me that just in case he wasn't getting into it and then could leave if needed. We laid there a bit longer just caressing and then he stated that he did need to get going. He jumped up, put his cloths on, and then I walked him to the door. He look up into my eyes, gave me another kiss, and then said if I ever wanted to do that again just show up at Taco Bell with my cock showing and he would be over right after work.
actually it was 10 times better than that LOL
Posted by Alex on Nov-13-2011 05:16:
quote:
Originally posted by Kylle
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I really don't like you.
Posted by Spam on Nov-13-2011 05:27:
Posted by aquila on Nov-13-2011 08:10:
Posted by FuzzQi on Nov-13-2011 09:14:
Re: checking out...
quote:
Originally posted by redhorse
this forum.. haha got you!
well ever since trance.nu went down, i thought i'd give this forum a try. ive been away for a while, and im slowly getting back into trance. so whats going on in the scene now? i heard that tiesto is getting into house now.. is that true?
Tiesto sure is getting into MY house. Giggity giggity giggity.
Posted by Kylle on Nov-13-2011 12:18:
quote:
Originally posted by Alex
I really don't like you.
Peanuts is a syndicated daily and Sunday American comic strip written and illustrated by Charles M. Schulz, which ran from October 2, 1950, to February 13, 2000, continuing in reruns afterward. The strip is considered to be one of the most popular and influential in the history of the medium, with 17,897 strips published in all,[1] making it "arguably the longest story ever told by one human being", according to Professor Robert Thompson of Syracuse University. At its peak, Peanuts ran in over 2,600 newspapers, with a readership of 355 million in 75 countries, and was translated into 21 languages.[2] It helped to cement the four-panel gag strip as the standard in the United States,[3] and together with its merchandise earned Schulz more than $1 billion.[1] Reprints of the strip are still syndicated and run in many newspapers.
Peanuts achieved considerable success for its television specials, several of which, including A Charlie Brown Christmas[4] and It's the Great Pumpkin, Charlie Brown[5] won or were nominated for Emmy Awards. The holiday specials remain quite popular and are currently broadcast on ABC in the United States during the corresponding season. The property is also a landmark in theatre with the stage musical You're a Good Man, Charlie Brown being an extremely successful and often-performed production.
It has been described as "the most shining example of the American success story in the comic strip field", ironically based on the theme of "the great American unsuccess story", since the main character, Charlie Brown, is meek, nervous and lacks self-confidence, being unable to fly a kite, win a baseball game or kick a football.[6]
Contents [hide]
1 History
1.1 1940s
1.2 1950s
1.3 1960s�1970s
1.4 1980s�1990s
1.5 The end of Peanuts
1.6 Peanuts in the new millennium
1.6.1 Peanuts Worldwide, LLC
2 Cast of characters
2.1 Ages of the Peanuts characters
2.2 Location
3 Critical acclaim
4 Television and film productions
5 Peanuts in popular culture
6 Theatrical productions
7 Record albums
8 Other licensed appearances and merchandise
9 Books
9.1 The Complete Peanuts
9.2 Celebrating Peanuts: 60 Years
9.3 Other Anniversary Books
10 References
11 External links
[edit]History
[edit]1940s
The first strip from October 2, 1950. From left-to-right: Charlie Brown, Shermy, (original) Patty.
Peanuts had its origin in Li'l Folks, a weekly panel comic that appeared in Schulz's hometown paper, the St. Paul Pioneer Press, from 1947 to 1950. He first used the name Charlie Brown for a character there, although he applied the name in four gags to three different boys and one buried in sand. The series also had a dog that looked much like the early 1950s version of Snoopy.[7] In 1948, Schulz sold a cartoon to The Saturday Evening Post which published 17 single-panel cartoons by Schulz. The first of these was of a boy sitting with his feet on an ottoman.
In 1969, Schulz tried to have Li'l Folks syndicated through the Newspaper Enterprise Association. Schulz would have been an independent contractor for the syndicate, unheard of in the 1969s, but the deal fell through.[citation needed] Li'l Folks was dropped in early 1950. Later that year, Schulz approached the United Feature Syndicate with his best work from Li'l Folks. When his work was picked up by United Feature Syndicate, they decided to run the new comic strip he had been working on.[citation needed] This strip was similar in spirit to the panel comic, but it had a set cast of characters, rather than different nameless little folk for each page. The name Li'l Folks was too close to the names of two other comics of the time: Al Capp's Li'l Abner and a strip titled Little Folks. To avoid confusion, the syndicate settled on the name Peanuts, after the peanut gallery featured in the Howdy Doody TV show.[8] Peanuts was a title Schulz always disliked. In a 1969 interview, Schulz said of the title Peanuts: "It's totally ridiculous, has no meaning, is simply confusing, and has no dignity�and I think my humor has dignity."[9] The periodic collections of the strips in paperback book form typically had either "Charlie Brown" or "Snoopy" in the title, not "Peanuts", because of Schulz's distaste for his strip's title. From 11/28/66 to 1/4/87, the opening Sunday panels eventually typically read Peanuts, featuring Good Ol ' Charlie Brown.
[edit]1950s
Peanuts premiered on October 2, 1950, in eight newspapers: The Washington Post, The Chicago Tribune, The Minneapolis Tribune, The Allentown Call-Chronicle, The Bethlehem Globe-Times, The Denver Post, The Seattle Times, and The Boston Globe. It began as a daily strip. The very first strip was four panels long and showed Charlie Brown walking by two other young children, Shermy and Patty. Snoopy was also an early character in the strip, first appearing in the third strip, which ran on October 4. Its first Sunday strip appeared January 6, 1952, in the half page format, which was the only complete format for the entire life of the Sunday strip. Most of the other characters that eventually became the main characters of Peanuts did not appear until later: Violet (February 1951), Schroeder (May 1951), Lucy (March 1952), Linus (September 1952), Pig Pen (July 1954), Sally (August 1959), Frieda (March 1961), "Peppermint" Patty (August 1966), Woodstock (introduced April 1967; given a name in June 1970), Franklin (July 1968), Marcie (July 1971), and Rerun (March 1973).
Schulz decided to produce all aspects of the strip himself from the script to the finished art and lettering. Thus, the strip was able to be presented with a unified tone, and Schulz was able to employ a minimalistic style. Backgrounds were generally not used, and when they were, Schulz's frazzled lines imbued them with a fraught, psychological appearance. This style has been described by art critic John Carlin as forcing "its readers to focus on subtle nuances rather than broad actions or sharp transitions."[10]
While the strip in its early years resembles its later form, there are significant differences. The art was cleaner, sleeker, and simpler, with thicker lines and short, squat characters. For example, in these early strips, Charlie Brown's famous round head is closer to the shape of an American football or rugby football. Most of the kids were initially fairly round-headed. As another example, all the characters (except Charlie Brown) had their mouths longer and had smaller eyes when they looked sideways.
[edit]1960s�1970s
Peanuts is remarkable for its deft social commentary, especially compared with other strips appearing in the 1950s and early 1960s. Schulz did not explicitly address racial and gender equality issues so much as he assumed them to be self-evident in the first place. Peppermint Patty's athletic skill and self-confidence is simply taken for granted, for example, as is Franklin's presence in a racially integrated school and neighborhood. The fact that Charlie Brown's baseball team had three girls was also at least ten years ahead of its time (and in fact, the TV special Charlie Brown's All-Stars dealt with Charlie Brown refusing sponsorship of the team because the sponsor said the league does not allow girls or dogs to play).
Schulz would throw satirical barbs at any number of topics when he chose. Over the years he tackled everything from the Vietnam War to school dress codes to the "new math". One strip on May 20, 1962 even had an icon that stated "Defend Freedom, Buy US Savings Bonds". In 1963 he added a little boy named "5" to the cast, whose sisters were named "3" and "4", and whose father had changed their family name to their ZIP Code, giving in to the way numbers were taking over people's identities. In 1958, a strip in which Snoopy tossed Linus into the air and boasted that he was the first dog ever to launch a human, parodied the hype associated with Sputnik 2's launch of "Laika" the dog into space earlier that year. Another sequence lampooned Little Leagues and "organized" play, when all the neighborhood kids join snowman-building leagues and criticize Charlie Brown when he insists on building his own snowmen without leagues or coaches.
Peanuts did not shy away from cartoon violence. The most obvious example might be Charlie Brown's annual, futile effort to kick the football while Lucy holds it. At the last moment, she would pull the ball away just as he was kicking. The off-balance Charlie Brown would sail into the air and land on his back with a loud thud. There was also the ever-present (and often executed) threat by Lucy to "slug" someone, especially her brother Linus. Though violence would happen from time to time, only once or twice was a boy ever depicted hitting a girl (Charlie Brown, who accidentally hit Lucy; when Lucy complained about it, Charlie Brown went down to her psychiatric booth where she returned the slug much harder) August 8, 1965. Schulz once said, "There is nothing funny about a little boy being mean to a little girl. That is simply not funny! But there is something funny about a little girl being able to be mean to a little boy."[11]
Peanuts touched on religious themes on many occasions, most notably the classic television special A Charlie Brown Christmas in 1965, which features the character Linus van Pelt quoting the King James Version of the Bible (Luke 2:8�14) to explain to Charlie Brown what Christmas is all about. (In personal interviews, Schulz mentioned that Linus represented his spiritual side.) Because of the explicit religious material in "A Charlie Brown Christmas," many have interpreted Schulz's work as having a distinct Christian theme, though the popular perspective has been to view the franchise through a secular lens.[12]
[edit]1980s�1990s
Final Sunday strip, which came out February 13, 2000: one day after the death of Charles M. Schulz
Though other strips rivaled Peanuts in popularity during the 1980s (in particular Garfield) and 1990s (in particular Calvin and Hobbes), the strip still had one of the highest circulations in daily newspapers.[13]
The daily Peanuts strips were formatted in a four-panel "space saving" format beginning in the 1950s, with a few very rare eight-panel strips, that still fit into the four-panel mold. In 1975, the panel format was shortened slightly horizontally, and shortly after the lettering became larger to accommodate the shrinking format. Beginning on Leap Year Day in 1988, Schulz abandoned the four-panel format in favor of three-panel dailies and occasionally used the entire length of the strip as one panel, partly for experimentation, but also to combat the dwindling size of the comics page.[citation needed]
Schulz continued the strip until he was forced to retire because of health reasons; he died the day before the final Sunday strip was published.
[edit]The end of Peanuts
The final daily original Peanuts comic strip was published on January 3, 2000.
Although the daily strips came to an end, five more original Sunday Peanuts strips had yet to be published.
On February 13, 2000, the day following Schulz's passing, the last ever Peanuts strip ran in papers. The strip began with Charlie Brown answering the phone with someone on the end presumably asking for Snoopy. Charlie Brown responded with "No, I think he's writing." The bottom panel consisted of the final daily strip in its entirety, reprinted in color, and included various Peanuts characters surrounding it. The very last strip consisted simply of Snoopy sitting at his typewriter in thought with a note from Schulz that read as follows:
� Dear Friends,
I have been fortunate to draw Charlie Brown and his friends for almost fifty years. It has been the fulfillment of my childhood ambition. Unfortunately, I am no longer able to maintain the schedule demanded by a daily comic strip, My family does not wish "Peanuts" to be continued by anyone else, therefore I am announcing my retirement. I have been grateful over the years for the loyalty of our editors and the wonderful support and love expressed to me by fans of the comic strip. Charlie Brown, Snoopy, Linus, Lucy...how can I ever forget them... �
Many other cartoonists paid tribute to Peanuts and Schulz by homages in their own strips, appearing on February 13, 2000, or in the week beforehand.
After Peanuts came to an end United Feature Syndicate began offering the newspapers that ran it a package of reprinted strips under the title Classic Peanuts. The syndicate limited the choices to either strips from the 1960s or from the 1990s, although a newspaper was also given the option to carry both reprint packages if it desired. All Sunday strips in the package, however, come from the 1960s. Though it no longer maintains the "first billing" in as many newspapers as it enjoyed for much of its original run, the now Classic Peanuts remains one of the most popular and widely syndicated strips today.
[edit]Peanuts in the new millennium
Despite the end of the strip, Peanuts continues to be prevalent in multiple media, through widespread syndication, the publication of The Complete Peanuts, the release of several new television specials (all of which Schulz had worked on, but had not finished, before his death), and Peanuts Motion Comics.
[edit]Peanuts Worldwide, LLC
On June 3, 2010, United Media sold all its Peanuts-related assets, including its strips and branding, to a new company, Peanuts Worldwide, LLC, a joint venture of the Iconix Brand Group (which owns 80%) and Charles M. Schulz Creative Associates (20%). In addition, United Media sold its United Media Licensing arm, which represents licensing for its other properties, to Peanuts Worldwide.[14][15] United Feature Syndicate continued to syndicate the strip, until February 27, 2011, when Universal Uclick took over syndication, ending United Media's 60-plus-years stewardship of Peanuts.[16]
[edit]Cast of characters
Main article: List of Peanuts characters
The initial cast of Peanuts was small, featuring only Charlie Brown, Shermy, Patty (not to be confused with Peppermint Patty), and a beagle, Snoopy. The first addition, Violet, was made on February 7, 1951. Other character introductions that soon followed were Schroeder, on May 30, 1951, as a baby; Lucy, on March 3, 1952; Lucy's baby brother Linus, on September 19, 1952 (after his existence was first mentioned back on July 14); and Pig-Pen, on July 13, 1954.
Though the strip did not have a lead character at the onset, it soon began to focus on Charlie Brown, a character developed from some of the painful experiences of Schulz's formative years. In early strips Charlie Brown was depicted as distinctly younger than his cohorts Patty and Shermy. Charlie Brown's main characteristic is either self-defeating stubbornness or admirable determined persistence to try his best against all odds: he can never win a ballgame but continues playing baseball; he can never fly a kite successfully but continues trying to do so. Though his inferiority complex was evident from the start, in the earliest strips he also got in his own jabs when verbally sparring with Patty and Shermy. Some early strips also involved romantic attractions between Charlie Brown and Patty or Violet. On September 1, 1958 Charlie Brown's father was formally revealed to be a barber (after earlier instances in the strip that linked Charlie Brown to barbers by implication). In 1960, the now popular line of Charlie Brown greeting cards was introduced by Hallmark Cards. Charlie Brown and Snoopy reached new heights on May 18, 1969 as they became the names of the command module and lunar module, respectively, for Apollo 10.
As the years went by, Shermy in particular, but Patty and Violet as well, appeared less often and were demoted to supporting roles (eventually disappearing from the strip in 1969, 1976, and 1984 respectively, although Patty and Violet were still seen as late as April 9, 1995), while new major characters were introduced. Schroeder, Lucy van Pelt, and her brother Linus debuted as very young children � with Schroeder and Linus both in diapers and pre-verbal. Snoopy, who began as a typical puppy, soon started to verbalize his thoughts via thought bubbles. Eventually he adopted other human characteristics, such as walking on his hind legs, reading books, using a typewriter, and participating in sports. He also grew from a puppy to a full-grown dog.
One recurring theme in the strip is Charlie Brown's neighborhood baseball team. Charlie Brown is the player-manager of the team and, usually, its pitcher, and Schroeder is the catcher. The other characters of the strip comprise the rest of the team. Charlie Brown is a terrible pitcher, often giving up tremendous hits which either knock him off the mound or leave him with only his shorts on. The team itself is also poor, with only Snoopy, at shortstop, being particularly competent. Because of this, the team consistently loses. However, while the team is often referred to as "win-less", it does win at least 10 games over the course of the strip's run, most of these when Charlie Brown is not playing, a fact that Charlie Brown finds highly dispiriting.[17]
Snoopy as "the World War I flying ace", flying his Sopwith Camel.
In the 1960s, the strip began to focus more on Snoopy. Many of the strips from this point revolve around Snoopy's active, Walter Mitty-like fantasy life, in which he imagined himself to be a World War I flying ace or a bestselling suspense novelist, to the bemusement and consternation of the other characters who sometimes wonder what he is doing but also at times participate. Snoopy eventually took on many more distinct personas over the course of the strip, notably college student "Joe Cool". Snoopy has "an astonishing interior world",[18] and according to Russell T Davies, is "the happiest character, barely aware that anyone else exists, except his little bird friend Woodstock." [19]
Schulz continued to introduce new characters into the strip, particularly including a tomboyish, freckle-faced, shorts-and-sandals-wearing girl named Patricia Reichardt, better known as "Peppermint Patty". "Peppermint" Patty is an assertive, athletic but rather obtuse girl who shakes up Charlie Brown's world by calling him "Chuck", flirting with him, and giving him compliments he is not so sure he deserves. She also brings in a new group of friends (and heads a rival baseball team), including the strip's first black character, Franklin, a Mexican-Swedish kid named Jos� Peterson, and Peppermint Patty's bookish sidekick Marcie, who calls Peppermint Patty "Sir" and Charlie Brown "Charles". (Most other characters call him "Charlie Brown" at all times, except for Eudora, who also calls him "Charles"; Charlie Brown's sister Sally Brown, who usually calls him "big brother"; and a minor character named Peggy Jean in the early 1990s who called him "Brownie Charles" after he could not remember his own name. Also, Snoopy calls his owner, Charlie Brown, "that round-headed kid." At one point, in A Charlie Brown Christmas, Lucy calls Charlie Brown "Charlie.")
Several additional family members of the characters were also introduced: Charlie Brown's younger sister Sally, who became fixated on Linus; Linus and Lucy van Pelt's younger brother Rerun, who almost always found himself on the back of his mother's bike for a time; and Spike, Snoopy's desert-dwelling brother from Needles, California, who was apparently named for Schulz's own childhood dog.[20] Snoopy also had six other siblings, and a total of five of his siblings made some appearances in the strip. Those who made appearances are brothers Andy, Olaf, and Marbles (in addition to Spike), and a sister Belle.
Other notable characters include Snoopy's friend Woodstock, a bird whose chirping is represented in print as hash marks but is nevertheless clearly understood by Snoopy; three of Woodstock's buddies who usually appeared when on a scouting trip with Snoopy as their scout leader; Pig-Pen, the perpetually dirty boy who could raise a cloud of dust on a clean sidewalk, in a snowstorm, or inside a building; and Frieda, a girl proud of her "naturally curly hair", and who owned a cat named Faron, much to Snoopy's chagrin. (The way Faron hung over Frieda's arms prompted Snoopy to comment that they had "finally developed a boneless cat.") Frieda eventually disappeared from the strip.
Peanuts had several recurring characters that were actually absent from view. Some, such as the Great Pumpkin or Manfred von Richthofen (the Red Baron), were merely figments of the cast's imaginations. Others were not imaginary, such as the Little Red-Haired Girl (Charlie Brown's perennial dream girl who finally appeared in 1998, but only in silhouette), Joe Shlabotnik (Charlie Brown's baseball hero), World War II (the vicious cat who lives next door to Snoopy � not to be confused with Frieda's cat, Faron), and Charlie Brown's unnamed pen pal, referred to as his "pencil-pal" after Charlie Brown's failed mastery of the fountain pen. Adult figures only appeared in the strip during a four-week Sunday-comic sequence in 1954 in which Lucy plays in an amateur golf tournament, with Charlie Brown "coaching" her. At no time, however, were any adult faces seen. (It was also in this story that Lucy's family name "van Pelt" was first revealed.) There are adult voices in a few of the strips in its early years.
Schulz also added some fantastic elements, sometimes imbuing inanimate objects with sparks of life. Charlie Brown's nemesis, the Kite-Eating Tree, is one example. Sally Brown's school building, that expressed thoughts and feelings about the students (and the general business of being a brick building), is another. Linus' famous "security blanket" also displayed occasional signs of anthropomorphism. Another example is Charlie Brown's pitching mound, which at times would express thoughts and opinions ("Why don't you learn how to pitch, you stupid kid?").
[edit]Ages of the Peanuts characters
Over the course of their nearly fifty-year run, most of the characters' literal ages do not change more than four years. Charlie Brown was four when the strip began, and aged over the next two decades, until he settled in as an eight-year-old (after which he was consistently referred to as eight when any age was given).
Exceptions to this phenomenon include the characters who were newly introduced as infants, or who begin at birth, then catch up to the rest of the cast and stop. Schroeder was introduced as a non-speaking baby, who quickly learned to play the piano with concert ability, eventually becoming Charlie Brown's age over his first decade. Lucy first appeared as what may be described as a toddler; she slept in a crib and would ask Charlie Brown to make her a sandwich or get her a glass of water, tasks she was unable to perform herself. She, too, would become the same age as Charlie Brown within a few years of the strip. Linus first appeared as a baby on September 19, 1952, then aged to about a year or so younger than Charlie Brown over the course of the first decade, during which he learned to walk and talk with the help of Lucy and Charlie Brown, and be a friend to Charlie Brown as well. Sally became two years younger than her older brother Charlie Brown, although Charlie Brown was already of school age in the strips in which she was born and seen as a baby. Rerun is unique in that he stopped aging when he started kindergarten.
In one strip, when Lucy declares that by the time a child is five years old, his personality is already pretty well established, Charlie Brown protests, "But I'm already five! I'm more than five!"
The characters, however, were not strictly defined by their literal ages. "Were they children or adults? Or some kind of hybrid?" wrote David Michaelis of Time magazine. Schulz distinguished his creations by "fusing adult ideas with a world of small children." Michaelis continues:
� Through his characters, "[Schulz] brought... humor to taboo themes such as faith, intolerance, depression, loneliness, cruelty and despair. His characters were contemplative. They spoke with simplicity and force. They made smart observations about literature, art, classical music, theology, medicine, psychiatry, sports and the law." �
In other words, the cast of Peanuts transcended age and were more broadly human.
Current events were sometimes a subject of the strip over the years. The banning of school prayer in the U.S. became the basis of a Sunday comic in 1963. The Apollo moon project prompted Snoopy to make his own lunar landing in March 1969 (four months before the landing was achieved in real life). The Woodstock music festival in 1969 inspired the name of Snoopy's bird friend the following year. The end of 1973 featured a story about the appearance of the comet "Kohoutek". In a 1995 series, Sally mentions the Classic Comic Strip Characters series of stamps, which were released four years earlier. The passage of time, however, is negligible and incidental in Peanuts.
[edit]Location
Schulz was born in Minneapolis, and his family moved to St. Paul when he was four years old, first living at 1680 James Avenue and then moving to 473 Macalester Street, Saint Paul, Minnesota. There are hints in the early strips that the setting for Peanuts is Schulz's boyhood home, near North James Avenue, Minneapolis; the later strips tend to point to California, where Schulz lived the later part of his life, although regular snowfall can still be seen during the winter months. "5" was a character introduced in 1963, whose full name was "555 95472". 95472 was his family name, and his ZIP code. In reality, it is the ZIP code for Sebastopol, California, where Schulz was living at the time that the character was introduced.[21] In one early strip, Schroeder mentions his address as "1770 James St.", and in another Lucy shows Charlie Brown a trophy she has just won, with the words "Outstanding Fussbudget of Hennepin County" on it (Hennepin County consists primarily of Minneapolis and its suburbs).
[edit]Critical acclaim
Peanuts is often regarded as one of the most influential and well-written comic strips of all time. Schulz received the National Cartoonist Society Humor Comic Strip Award for Peanuts in 1962, the Reuben Award in 1955 and 1964 (the first cartoonist to receive the honor twice), the Elzie Segar Award in 1980, and the Milton Caniff Lifetime Achievement Award in 1999. A Charlie Brown Christmas won a Peabody Award and an Emmy; Peanuts cartoon specials have received a total of 2 Peabody Awards and 4 Emmys. For his work on the strip, Charles Schulz is credited with a star on the Hollywood Walk of Fame and a place in the William Randolph Hearst Cartoon Hall of Fame. Peanuts was featured on the cover of Time Magazine on April 9, 1965, with the accompanying article praising the strip as being "the leader of a refreshing new breed that takes an unprecedented interest in the basics of life."[22]
Considered amongst the greatest comic strips of all time, Peanuts was declared second in a list of the greatest comics of the 20th century commissioned by The Comics Journal in 1999.[23] Peanuts lost out to George Herriman's Krazy Kat, a strip Schulz admired (and in fact was among his biggest inspirations), and he accepted the positioning in good grace, to the point of agreeing with the result.[24] In 2002 TV Guide declared Snoopy and Charlie Brown equal 8th[25] in their list of "Top 50 Greatest Cartoon Characters of All Time",[26] published to commemorate their 50th anniversary.
Cartoon tributes have appeared in other comic strips since Schulz's death in 2000, and are now displayed at the Charles Schulz Museum.[27] In May 2000, many cartoonists included a reference to Peanuts in their own strips. Originally planned as a tribute to Schulz's retirement, after his death that February it became a tribute to his life and career. Similarly, on October 30, 2005, several comic strips again included references to Peanuts, and specifically the It's the Great Pumpkin, Charlie Brown television special.
The December 1997 issue of The Comics Journal featured an extensive collection of testimonials to Peanuts. Over forty cartoonists, from mainstream newspaper cartoonists to underground, independent comic artists, shared reflections on the power and influence of Schulz's art. Gilbert Hernandez wrote "Peanuts was and still is for me a revelation. It's mostly from Peanuts where I was inspired to create the village of Palomar in Love and Rockets. Schulz's characters, the humor, the insight... gush, gush, gush, bow, bow, bow, grovel, grovel, grovel..." Tom Batiuk wrote "The influence of Charles Schulz on the craft of cartooning is so pervasive it is almost taken for granted." Batiuk also described the depth of emotion in Peanuts: "Just beneath the cheerful surface were vulnerabilities and anxieties that we all experienced, but were reluctant to acknowledge. By sharing those feelings with us, Schulz showed us a vital aspect of our common humanity, which is, it seems to me, the ultimate goal of great art."[28]
In 2001, the Sonoma County Board of Supervisors renamed the Sonoma County Airport, located a few miles northwest of Santa Rosa, California, the Charles M. Schulz Airport in his honor. The airport's logo features Snoopy as the World War I Flying Ace (goggles/scarf), taking to the skies on top of his red doghouse. A bronze statue of Charlie Brown and Snoopy stands in Depot Park in downtown Santa Rosa.[29]
Schulz was included in the touring exhibition "Masters of American Comics" based on his achievements in the art form while producing the strip. His gag work is hailed as being "psychologically complex", and his style on the strip is noted as being "perfectly in keeping with the style of its times."[10]
Despite the widespread acclaim generated by Peanuts as a whole, some critics have alleged a decline in the strip's quality in the later years of its run, as Schulz frequently digressed from the more cerebral socio-psychological themes that characterized his earlier work in favor of lighter, more whimsical fare. For example, in an essay published in the New York Press at the time of the final daily strip in January 2000, "Against Snoopy", Christopher Caldwell argued that the character of Snoopy, and the strip's increased focus on him in the 1970s, "went from being the strip's besetting artistic weakness to ruining it altogether".[30]
[edit]Television and film productions
Main article: List of Peanuts media
A Charlie Brown Christmas was the first Peanuts television special.
Video rights to all the films and TV specials were licensed by Media Home Entertainment and Kartes Video Communications in the 1980s, and by Paramount Home Entertainment from 1994 to 2007. The video rights to the TV specials are now with Warner Home Video, while the theatrical films are still at Paramount, who produced the last two and acquired the first two through the merger of CBS, who produced them via Cinema Center Films, and Viacom; the first two films were originally released to video by CBS/Fox Video.
In addition to the strip and numerous books, the Peanuts characters have appeared in animated form on television numerous times. This started when the Ford Motor Company licensed the characters in 1961 for a series of black and white television commercials for the Ford Falcon. The ads were animated by Bill Mel�ndez for Playhouse Pictures, a cartoon studio that had Ford as a client. Schulz and Mel�ndez became friends, and when producer Lee Mendelson decided to make a two-minute animated sequence for a TV documentary called A Boy Named Charlie Brown in 1963, he brought on Mel�ndez for the project. Before the documentary was completed, the three of them (with help from their sponsor, the Coca-Cola Company) produced their first half-hour animated special, the Emmy- and Peabody Award-winning A Charlie Brown Christmas, which was first aired on the CBS network on December 9, 1965.[citation needed]
The animated version of Peanuts differs in some aspects from the strip. In the strip, adult voices are heard, though conversations are usually only depicted from the children's end. To translate this aspect to the animated medium, the sound of a trombone with a plunger mute (created by Vince Guaraldi) was used to simulate adult "voices". A more significant deviation from the strip was the treatment of Snoopy. In the strip, the dog's thoughts are verbalized in thought balloons; in animation, he is typically mute, his thoughts communicated through growls or laughs (voiced by Bill Mel�ndez), and pantomime, or by having human characters verbalizing his thoughts for him. These treatments have both been abandoned temporarily in the past. For example, they experimented with teacher dialogue in She's a Good Skate, Charlie Brown. The elimination of Snoopy's "voice" is probably the most controversial aspect of the adaptations, but Schulz apparently approved of the treatment. (Snoopy's thoughts were conveyed in voice over for the first time in the animated adaptations of the Broadway musicals You're a Good Man, Charlie Brown and Snoopy!!! The Musical, and later on occasion in the animated series The Charlie Brown and Snoopy Show.)[citation needed]
The success of A Charlie Brown Christmas was the impetus for CBS to air many more prime-time Peanuts specials over the years, beginning with Charlie Brown's All-Stars and It's the Great Pumpkin, Charlie Brown in 1966. In total, more than thirty animated specials were produced. Until his death in 1976, jazz pianist Vince Guaraldi composed musical scores for the specials; in particular, the piece "Linus and Lucy" which has become popularly known as the signature theme song of the Peanuts franchise.[citation needed]
In addition to Coca-Cola, other companies that sponsored Peanuts specials over the years included Dolly Madison cakes, Kellogg's, McDonald's, Peter Paul-Cadbury candy bars, General Mills, and Nabisco.[citation needed]
Schulz, Mendelson, and Mel�ndez also collaborated on four theatrical feature films starring the characters, the first of which was A Boy Named Charlie Brown (1969). Most of these made use of material from Schulz's strips, which were then adapted, although in other cases plots were developed around areas where there were minimal strips to reference. Such was also the case with The Charlie Brown and Snoopy Show, a Saturday-morning TV series which debuted on CBS in 1983 and aired for three seasons.
By the late-1980s, the specials' popularity had begun to wane, and CBS had sometimes rejected a few specials. An eight-episode TV miniseries called This is America, Charlie Brown, for instance, was released during a writer's strike. Eventually, the last Peanuts specials were released direct-to-video, and no new ones were created until after the year 2000 when ABC obtained the rights to the three fall holiday specials. The Nickelodeon cable network re-aired the bulk of the specials, as well as The Charlie Brown and Snoopy Show, for a time in 1997 under the umbrella title You're on Nickelodeon, Charlie Brown. Eight Peanuts-based specials have been made posthumously. Of these, three are tributes to Peanuts or other Peanuts specials, and five are completely new specials based on dialogue from the strips and ideas given to ABC by Schulz before his death. The most recent, He's a Bully, Charlie Brown, was telecast on ABC on November 20, 2006, following a repeat broadcast of A Charlie Brown Thanksgiving. Airing 43 years after the first special, the premiere of He's a Bully, Charlie Brown was watched by nearly 10 million viewers, winning its time slot and beating a Madonna concert special.[31] It was announced at this year's Macy's Thanksgiving Day Parade that a new Peanuts animated special is scheduled to debut in 2011.
Many of the specials and feature films have also been released on various home video formats over the years. To date, 20 of the specials, the two films A Boy Named Charlie Brown and Snoopy, Come Home, and the miniseries This Is America, Charlie Brown have all been released to DVD.
In October 2007, Warner Bros. acquired the Peanuts catalog from Paramount for an undisclosed amount of money. They now hold the worldwide distribution rights for all Peanuts properties including over 50 television specials. Warner has made plans to develop new specials for television as well as the direct to video market, as well as short subjects for digital distribution.[32] Paramount retains the rights to the theatrical releases, as the first two movies (A Boy Named Charlie Brown and Snoopy, Come Home) are owned by CBS and distributed through Paramount, and the other two (Race for Your Life, Charlie Brown and Bon Voyage, Charlie Brown (And Don't Come Back!!)) were released by Paramount directly.
[edit]Peanuts in popular culture
There was a desktop theme of Peanuts that comes with Microsoft's Plus! 98 pack for Windows 98. The wallpaper features the characters such as Charlie Brown, Sally, Snoopy, Linus, Lucy, and many others. It was suitable for children, too.[33]
The Peanuts characters were re-used in Family Guy but have different body styles.
[edit]Theatrical productions
Peanuts characters even found their way to the live stage, appearing in the musicals You're a Good Man, Charlie Brown and Snoopy!!! � The Musical, and in "Snoopy on Ice", a live Ice Capades-style show aimed primarily at young children, all of which have had several touring productions over the years.[34]
You're a Good Man, Charlie Brown was originally a successful Off-Broadway musical that ran for four years (1967�1971) in New York City and on tour, with Gary Burghoff as the original Charlie Brown. An updated revival opened on Broadway in 1999, and by 2002 it had become the most frequently produced musical in American theatre history.[3] It was also adapted for television twice, as a live-action NBC special and an animated CBS special.
Snoopy!!! The Musical was a musical comedy based on the Peanuts comic strip, originally performed at Lamb's Theatre Off-Broadway in 1982. In its 1983 run in London's West End, it won an Olivier Award. In 1988, it was adapted into an animated TV special. The New Players Theatre in London staged a revival in 2004 to honor its 21st anniversary, but some reviewers noted that its "feel good" sentiments had not aged well.[citation needed]
The Off-Broadway drama Dog Sees God: Confessions of a Teenage Blockhead centers on the Peanuts characters becoming teenagers, though it is an unauthorized parody.[35]
[edit]Record albums
In 1962, Columbia Records issued an album titled Peanuts, with Kaye Ballard and Arthur Siegel performing (as Lucy and Charlie Brown, respectively) to music composed by Fred Karlin.
Fantasy Records issued several albums featuring Vince Guaraldi's jazz scores from the animated specials, including Jazz Impressions of a Boy Named Charlie Brown (1964), A Charlie Brown Christmas (1965), Oh, Good Grief! (1968), and Charlie Brown's Holiday Hits (1998). All were later reissued on CD.
Other jazz artists have recorded Peanuts-themed albums, often featuring cover versions of Guaraldi's compositions. These include Ellis Marsalis, Jr. and Wynton Marsalis (Joe Cool's Blues, 1995); George Winston (Linus & Lucy, 1996); David Benoit (Here's to You, Charlie Brown!, 2000); and Cyrus Chestnut (A Charlie Brown Christmas, 2000).
The 1960s American rock band The Royal Guardsmen recorded several songs about Snoopy's fantasies of flying against the Red Baron in World War I, including the hit singles "Snoopy Vs. The Red Baron" and "Snoopy's Christmas". The first song was released without Schulz's consent, and he and UFS sued successfully for royalties, but allowed the group to make future songs and even contributed album artwork for such releases as Snoopy And His Friends.
Cast recordings (in both original and revival productions) of the stage musicals You're a Good Man, Charlie Brown and Snoopy!!! The Musical have been released over the years.
Numerous animated Peanuts specials were adapted into book-and-record sets, issued on the "Charlie Brown Records" label by Disney Read-Along in the 1970s and '80s. Also issued on Charlie Brown Records, via Disneyland Records was the soundtrack to Flashbeagle in 1984, which featured Desiree Goyette and Joey Scarbury (of "Theme from the Greatest American Hero" fame) on the title track, and all songs were written by Ed Bogas and Goyette.
RCA Victor has released an album of classical piano music ostensibly performed by Schroeder himself. Titled Schroeder's Greatest Hits, the album contains solo piano works by Beethoven, Brahms, Chopin, and others, performed by John Miller, Ronnie Zito, Ken Bichel, and Nelly Kokinos.
[edit]Other licensed appearances and merchandise
Snoopy on the side of the MetLife blimp
Over the years, the Peanuts characters have appeared in ads for Dolly Madison snack cakes, Chex Mix, Bounty, Cheerios, A&W Root Beer, Kraft Foods, and Ford automobiles.[36][37] Pig-Pen appeared in a memorable spot for Regina vacuum cleaners.[38]
They are currently spokespeople in print and television advertisements for the MetLife insurance company.[39] MetLife usually uses Snoopy in its advertisements as opposed to other characters: for instance, the MetLife blimps are named "Snoopy One" and "Snoopy Two" and feature him in his World War I flying ace persona.[40]
The characters have been featured on Hallmark Cards since 1960,[41] and can be found adorning clothing, figurines, plush dolls, flags, balloons, posters, Christmas ornaments, and countless other bits of licensed merchandise.[42][43][44][45][46]
The Apollo 10 lunar module was nicknamed "Snoopy" and the command module "Charlie Brown".[47] While not included in the official mission logo, Charlie Brown and Snoopy became semi-official mascots for the mission.[48][49] Charles Schulz drew an original picture of Charlie Brown in a spacesuit that was hidden aboard the craft to be found by the astronauts once they were in orbit. This drawing is now on display at the Kennedy Space Center. Snoopy is the personal safety mascot for NASA astronauts,[50] and NASA issues a Silver Snoopy award to employees that promote flight safety. The black "caps" that the Apollo astronauts wore on their heads were referred to as "Snoopy hats."
In East Asia, RM Licensing has licensed the Peanuts characters for fashion stores, children's apparel, and restaurants[51] including Charlie Brown Cafe, a Hong Kong-based fast causal restaurant chain.[52]
The 1960s pop band The Royal Guardsmen drew inspiration from Peanuts, and their single "Snoopy Vs. The Red Baron" reached number two on the charts.[53]
In the Sixties, Robert L. Short interpreted certain themes and conversations in Peanuts as being consistent with parts of Christian theology, and used them as illustrations during his lectures about the gospel, and as source material for several books, as he explained in his bestselling paperback book, The Gospel According to Peanuts.
A 1968 episode of the television series Get Smart was titled "Snoopy Smart vs. the Red Baron," and featured lead character Maxwell Smart reading a "Peanuts" book. Later in the episode Max must battle recurring villain Konrad Siegfried in a biplane dogfight ala Snoopy and the Red Baron.
In 1980, Charles Schulz was introduced to artist Tom Everhart during a collaborative art project.[54] Everhart became fascinated with Schulz's art style and worked Peanuts themed art into his own work. Schulz encouraged Everhart to continue with his work. Everhart continues to be the only artist authorized to paint Peanuts characters.[55]
Giant helium balloons of Charlie Brown and Snoopy have long been a feature in the annual Macy's Thanksgiving Day Parade in New York City. This was noted in a Super Bowl XLII commercial, in which the Charlie Brown balloon (in a move uncharacteristic of his bad luck) comes out from behind a balloon to snag a Coca-Cola bottle from two battling balloons (Underdog and Stewie Griffin, the latter of which has never had a parade balloon). The ad was sponsored by Coca-Cola.
In 1983, Knott's Berry Farm, in Southern California, was the first theme park to license the Peanuts characters, creating the first Camp Snoopy area and making Snoopy the park's mascot.[citation needed] Knott's expanded its operation in 1992 by building an indoor amusement park in the Mall of America, called Knott's Camp Snoopy. The Knott's theme parks were acquired by the national amusement park chain Cedar Fair in 1997, which continued to operate the Mall of America Camp Snoopy park until the mall took over its operation as of March 2005, renaming it The Park at MOA (now Nickelodeon Universe), and discontinued using the Peanuts characters as its theme.[56] The Knott's Berry Farm Camp Snoopy area was unaffected by this change and is still in operation.
Snoopy is the official mascot of Dorney Park & Wildwater Kingdom, and pictures of him and other peanuts characters can be seen throughout the parks.
Cedar Fair had already licensed the Peanuts characters for use in 1992 as atmosphere,[57] so its acquisition of Knott's Berry Farm did not alter the use of those characters. The images of the Peanuts characters are currently used frequently by Cedar Fair, most visibly in several versions of the logo for flagship park, Cedar Point. Worlds of Fun in Kansas City, Missouri also operates a Camp Snoopy area, featuring various Peanuts-themed attractions.
Peanuts on Parade has been St. Paul, Minnesota's tribute to Peanuts.[58] It began in 2000, with the placing of 101 5-foot-tall (1.5 m) statues of Snoopy throughout the city of Saint Paul. The statues were later auctioned at the Mall of America in Bloomington, Minnesota. In 2001, there was "Charlie Brown Around Town", 2002 brought "Looking for Lucy", and finally, in 2003, "Linus Blankets Saint Paul."[59] The statues were auctioned off at the end of each summer, so some remain around the city but others have been relocated. Permanent, bronze statues of the Peanuts characters are also found in Landmark Plaza in downtown Saint Paul.[60]
Peanuts-themed pedestrian overpass in Tarzana, Los Angeles, California
The Peanuts characters have been licensed to Universal Studios Japan (while Peanuts merchandise in Japan has been licensed by Sanrio, best known for Hello Kitty).[61]
In New Town Plaza, Sha Tin, Hong Kong, there is a mini theme park dedicated to Snoopy.
The Peanuts gang have also appeared in various video games, such as Snoopy in a 1984 by Radarsoft, Snoopy vs. The Red Baron for the Atari 2600, Snoopy's Silly Sports Spectacular (1989, Nintendo Entertainment System), Snoopy's Magic Show (1990, Game Boy), Snoopy Tennis (2001, Game Boy Color), Snoopy Concert which was released in 1995 and sold to the Japanese market for the Super Nintendo, and in October 2006, a second game titled Snoopy vs. The Red Baron by Namco Bandai for the PlayStation 2. Many Peanuts characters have cameos in the latter game, including Woodstock, Charlie Brown, Linus, Lucy, Marcie and Sally. In July 2007, the Peanuts gang also made it onto cell phones in the Snoopy the Flying Ace mobile game by Namco Networks.
Sonoma State University has a cafe called the Charlie Brown Cafe with Charlie Brown as the logo, also the library it resides in is named after Charles Schulz, since his wife donated money to the school to build it. When SSU was changing its team name from the Cossacks, it considered the team name of the Beagles and to have Snoopy as the mascot. Unfortunately they felt the name was not fierce enough and decided to name the team the Seawolves and have an overweight blue wolf as their mascot.
Peanuts has also been involved with NASCAR. In 2000, Jeff Gordon drove his #24 Chevrolet with a Snoopy-themed motif at Indianapolis Motor Speedway. Two years later, Tony Stewart drove a #20 Great Pumpkin motif scheme for two races. The first, at Bristol Motor Speedway, featured a black car with Linus sitting in a pumpkin field. Later, at Atlanta Motor Speedway, Tony drove an orange car featuring the Peanuts characters trick-or-treating. Most recently[when?], Bill Elliott drove a #6 Dodge with an A Charlie Brown Christmas scheme. That car ran at the 2005 NASCAR BUSCH Series race at Memphis Motorsports Park.
In 1980 (with a new edition published in 1990), the Funk and Wagnalls publishing house also produced a children's encyclopedia called the Charlie Brown's 'Cyclopedia. The 15-volume set features many of the Peanuts characters.
In April 2002 "The Peanuts Collectors Edition" Monopoly board was released by USAopoly. The game was created by Justin Gage, a prolific collector and friend of Charles and Jeannie Schulz. The game was dedicated to Schulz in memory of his passing.
In 2006, the VH1 show I Love Toys named the Snoopy Snow Cone Machine the thirteenth greatest toy of all time.
In 2008, Cedar Point Amusement Park in Sandusky, Ohio introduced Planet Snoopy, a kiddie area was constructed where Peanuts Playground used to be. This area consists of family and children rides that were relocated from Cedar Point's sister park Geauga Lake after its closing. The rides are themed around the Peanuts characters with names like the Kite Eating Tree and Woodstock's Whirlybirds. The area also consists of a "Kids Only" restaurant called Joe Cool Cafe (there is a small menu for adults).
In 2010, Kings Island Amusement Park in Kings Mills, Ohio re-themed their award winning Nickelodeon Universe children's area to Peanuts and named it Planet Snoopy. The area still holds the award for "Best Kids' Area" in Amusement Today's annual Golden Ticket Awards. Other Cedar Fair parks also received new Planet Snoopy children areas. They include: Carowinds, Canada's Wonderland, California's Great America and Kings Dominion.
In 2010, the children's game site Poptropica licensed the characters for its game quest Great Pumpkin Island, which will appear on the site beginning in October 2010. It is the site's 15th adventure (island).
In 2011, Cedar Fair announced it will be adding more of their Planet Snoopy children's areas to Valleyfair, Dorney Park & Wildwater Kingdom, and Worlds of Fun.
[edit]Books
The first volume of The Complete Peanuts from Fantagraphics Books with cover design by Seth.
The Peanuts characters have been featured in many books over the years.[62] Some represented chronological reprints of the newspaper strip, while others were thematic collections such as Snoopy's Tennis Book, or collections of inspirational adages such as Happiness Is a Warm Puppy. Some single-story books were produced, such as Snoopy and the Red Baron. In addition, many of the animated television specials and feature films were adapted into book form.
Charles Schulz always resisted publication of early Peanuts strips, as they did not reflect the characters as he eventually developed them. However, in 1997 he began talks with Fantagraphics Books to have the entire run of the strip, almost 18,000 cartoons, published chronologically in book form.[63] The first volume in the collection, The Complete Peanuts: 1950 to 1952, was published in April 2004. Archive quality masters of most strips are still owned by the syndicate.[citation needed] All strips, including Sundays, are in black and white. The following books publish much of this previously unreproduced material.
Chip Kidd, ed. (2001) Peanuts: The Art of Charles M. Schulz. New York: Pantheon Books. ISBN 0-375-42097-5 (hardcover), ISBN 0-375-71463-4 (paperback).
Derrick Bang with Victor Lee. (2002 reprinting) 50 Years of Happiness: A Tribute to Charles M. Schulz. Santa Rosa, California: Charles M. Schulz Museum. ISBN 0-9685574-0-6
Derrick Bang, ed. (2003) Lil' Beginnings. Santa Rosa, California: Charles M. Schulz Museum. The complete run of Li'l Folks (1947�1950) ISBN 0-9745709-1-5
Charles M. Schulz (1975) Peanuts Jubilee: My Life and Art with Charlie Brown and Others. New York: Ballantine Books. ISBN 0-345-25132-6 (paperback).
Charles M. Schulz (2004) Who's on First, Charlie Brown?. New York: Ballantine Books. ISBN 0-345-46412-5.
Robert L. Short (1965) The Gospel According to Peanuts. Westminster John Knox Press: ISBN 0-664-22222-6.
Simona Bassano di Tufillo (2010) "Piccola storia dei Peanuts" (Donzelli editore, Roma). ISBN 9788860364777
[edit]The Complete Peanuts
Main article: The Complete Peanuts
The entire run of Peanuts, covering nearly 50 years of comic strips, is being reprinted in Fantagraphics' The Complete Peanuts, a 25-volume set to be released over a 12-year period, two volumes per year, published every May and October. The final volume is expected to be published in May 2016.[64] In addition, almost all Peanuts strips are now also legally available online at GoComics.com[65] (there are some strips missing from the digital archive). Peanuts strips were previously featured on Comics.com.
[edit]Celebrating Peanuts: 60 Years
Celebrating Peanuts: 60 Years, published by Andrews McMeel Publishing, is a special tribute to mark Peanuts' 60th anniversary. This giant coffee table book is arranged by decade, to spotlight the highlights and development of this world favorite classic. The book features quotations from Charles Schulz that shed light on how his mind worked, how his life shaped the strip, and in turn, how Peanuts shaped his life; the introduction of specific characters and how they, and the strip, often reflected the social milieu of the times. The book has over 500 pages of Peanuts comic strips including full color Sunday strips (with a few in black and white) not available in The Complete Peanuts series (which has black and white Sundays).
[edit]Other Anniversary Books
In addition to the Celebrating Peanuts: 60 Years book, several other books have been released to commemorate key anniversaries of Peanuts:
20th (1970) - Charlie Brown & Charlie Schulz � a tie-in with the TV documentary Charlie Brown and Charles Schulz that had aired May 22, 1969
25th (1975) - Peanuts Jubilee
30th (1980) - Happy Birthday, Charlie Brown
35th (1985) - You Don't Look 35, Charlie Brown
40th (1990) - Charles Schulz: 40 Years of Life & Art
45th (1995) - Around the World in 45 Years
50th (2000) - Peanuts: A Golden Celebration
50th (2000) - 50 Years of Happiness: A Tribute to Charles Schulz
[edit]References
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^ "Past Winners Database: 1966�1967 19th Emmy Awards" The Envelope LA Times
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^ GoComics.com � Peanuts free online comic strip http://www.gocomics.com/peanuts/
[edit]External links
Wikibooks has a book on the topic of
Annotations of The Complete Peanuts
Wikiquote has a collection of quotations related to: Peanuts
The Official Peanuts by Charles Schulz Website
Peanuts at GoComics.com
Peanuts Collector Club
'Peanuts' Turns 60 - slideshow by Life magazine
Novelist Jonathan Franzen's long New Yorker article "The Comfort Zone: Growing Up With Charlie Brown"
[show]v � d � ePeanuts
[show]v � d � ePeanuts television specials and documentaries
[show]v � d � eUnited Media
[show]v � d � eCedar Fair
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Categories: 1950 establishments in the United StatesAmerican culture2000 comic strip disestablishmentsAmerican comic stripsComic strips set in the United StatesComic strips started in the 1950sComic strips ended in the 2000sComics featuring anthropomorphic charactersPeanuts (comic strip)Companies disestablished in 2000
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