14 Festive Facts About A Charlie Brown Christmas

A still from A Charlie Brown Christmas (1965).
A still from A Charlie Brown Christmas (1965).
20th Century Fox Home Entertainment

More than 50 years since its premiere on CBS on December 9, 1965, A Charlie Brown Christmas remains one of the most beloved holiday specials of all time. Like Charlie Brown himself, the flaws—scratchy voice recordings, rushed animation—have proven endearing. Take a look at some facts behind the show that killed aluminum trees, the struggles to animate Chuck’s round noggin, and why Willie Mays is the unsung hero of Peanuts.

1. Charles Schulz wasn't really interested in getting into animation.

Since the debut of Peanuts in 1955, Charles Schulz and United Press Syndicate (which distributed the comic strip) had gotten a steady stream of offers to adapt the characters for film and television; the artist was also directly petitioned by young readers, who would write Schulz asking when Snoopy would come to some kind of animated life. His stock reply: “There are some greater things in the world than TV animated cartoons.”

He relented for Ford Motors—he had only ever driven a Ford—and allowed Charlie Brown to appear in a series of commercials for the Ford Falcon in the early 1960s. The spots were animated by Bill Melendez, who earned Schulz’s favor by keeping the art simple and not using the exaggerated movements of the Disney films—Bambi, Dumbo—Melendez had worked on previously.

2. Willie Mays played a part in getting it made.

Schulz capitulated to a full-length special based on the professional reputations of his two collaborators. The cartoonist had seen and enjoyed executive producer Lee Mendelson’s documentary on baseball player Willie Mays, A Man Named Mays; when Mendelson proposed a similar project on Schulz and his strip, he agreed—but only if they enlisted Melendez of the Ford commercials. The finished documentary and its brief snippet of animation cemented Schulz's working relationship with the two and led Schulz to agree when Mendelson called him about a Christmas special.

3. CBS and Coca-Cola only gave them $76,000 to produce it.

When Coke executives got a look at the Schulz documentary and caught Charlie Brown on the April 1965 cover of Time, they inquired about the possibility of sponsoring an hour-long animated holiday special. Melendez felt the short lead time—only six months—made that impossible. Instead, he proposed a half-hour, but had no idea how much the show should be budgeted for; when he called colleague Bill Hanna (of Hanna-Barbera fame) for advice, Hanna refused to give out any trade secrets. Melendez wound up getting a paltry $76,000 to cover production costs. (It evened out: Schulz, Mendelson, and Melendez wound up earning roughly $5 million total for the special through 2000.)

4. A Charlie Brown Christmas was going to have a laugh track.

In the ‘60s, it was standard procedure to lay a laugh track over virtually any half-hour comedy, even if the performers were drawn in: The Flintstones was among the series that used a canned “studio audience” to help cue viewers for jokes. When Mendelson told Schulz he didn’t see the Peanuts special being any different, the artist got up and left the room for several minutes before coming in and continuing as if nothing had happened. Mendelson got the hint.

5. Snoopy's voice is just sped-up nonsense.

The early Peanuts specials made use of both untrained kids and professional actors: Peter Robbins (Charlie Brown) and Christopher Shea (Linus) were working child performers, while the rest of the cast consisted of "regular" kids coached by Melendez in the studio. When Schulz told Melendez that Snoopy couldn’t have any lines in the show—he’s a dog, and Schulz’s dogs didn’t talk—the animator decided to bark and chuff into a microphone himself, then speed up the recording to give it a more emotive quality.

6. Charles Schulz hated jazz.

The breezy instrumental score by composer Vince Guaraldi would go on to become synonymous with Peanuts animation—but it wasn’t up to Schulz. He left the music decisions to Mendelson, telling a reporter shortly after the special aired that he thought jazz was “awful.”

7. Charlie Brown's head was a nightmare to animate.

Because Melendez was unwilling to stray from Schulz’s distinctive character designs—which were never intended to be animated—he found himself in a contentious battle with Charlie Brown’s noggin. Its round shape made it difficult to depict Charlie turning around; as with most of the characters, his arms were too tiny to scratch his head. Snoopy, in contrast, was free of a ball-shaped cranium and became the show’s easiest figure to animate.

8. Charles Schulz was embarrassed by one scene.

Careful (or repeated) viewings of the special reveal a continuity error: in scenes where Charlie Brown is standing near his tree, the branches appear to grow from moment to moment. The goof annoyed Schulz, who blamed the mistake on two animators who didn’t know what the other was doing.

9. A Charlie Brown Christmas almost got scrapped by Coke.

Mendelson recently told USA Today that an executive from McCann-Erikson—the ad agency behind Coke—paid him an impromptu visit while he was midway through production. Without hearing the music or seeing the finished animation, the ad man thought it looked disastrous and cautioned that if he shared his thoughts with Coca-Cola, they’d pull the plug. Mendelson argued that the charm of Schulz’s characters would come through; the exec kept his opinion to himself.

10. CBS hated A Charlie Brown Christmas.

After toiling on the special for six months, Melendez and Mendelson screened it for CBS executives just three weeks before it was set to air. The mood in the room was less than enthusiastic: the network found it slow and lacking in energy, telling Melendez they weren’t interested in any more specials. To add insult, someone had misspelled Schulz in the credits, adding a “T” to his last name. (Schulz himself thought the whole project was a “disaster” due to the crude animation.)

11. Half the country watched A Charlie Brown Christmas.

Viewers weren’t nearly as cynical about Charlie Brown’s holiday woes as his corporate benefactors. Preempting a 7:30 p.m. EST episode of The Munsters, A Charlie Brown Christmas pulled a 50 share, meaning half of all households with a television turned on were watching it. (That amounted to roughly 15 million people, behind only Bonanza.) CBS finally acknowledged it was a winner, but not without one of the executives getting in one last dig and telling Mendelson that his “aunt in New Jersey didn’t like it.”

12. A Charlie Brown Christmas killed aluminum tree sales.

Aluminum Christmas trees were marketed beginning in 1958 and enjoyed fairly strong sales by eliminating pesky needles and tree sap. But the annual airings of A Charlie Brown Christmas swayed public thinking: In the special, Charlie Brown refuses to get a fake tree. Viewers began to do the same, and the product was virtually phased out by 1969. The leftovers are now collector’s items.

13. There's a live-action play version of A Charlie Brown Christmas.

Up until 2013, anyone staging a live-action rendition of A Charlie Brown Christmas for their local school or theater had one thing in common: they were copyright infringers. The official rights to the story and characters weren’t offered until recently. Tams-Witmark fields licensing requests for the play, which includes permission to perform original songs and advertise with the Peanuts characters—Snoopy costume not included.

14. In 2015, the voice of Charlie Brown was arrested.

Peter Robbins continued voicing Charlie Brown until he turned 13 years old, at which point puberty prohibited him from continuing. In November 2015, the 59-year-old Robbins pleaded guilty to making criminal threats against a mobile home park manager and a sheriff. According to CBS News, the troubled former actor claimed that schizophrenia and bipolar disorder led him to make the threats. He was sentenced to four years and eight months in prison.

Additional Sources:
The Art and Making of Peanuts Animation
Schulz and Peanuts
A Charlie Brown Christmas: The Making of a Tradition
.

Amazon’s Big Fall Sale Features Deals on Electronics, Kitchen Appliances, and Home Décor

Dash/Keurig
Dash/Keurig

If you're looking for deals on items like Keurigs, BISSELL vacuums, and essential oil diffusers, it's usually pretty slim pickings until the holiday sales roll around. Thankfully, Amazon is starting these deals a little earlier with their Big Fall Sale, where customers can get up to 20 percent off everything from home decor to WFH essentials and kitchen gadgets. Now you won’t have to wait until Black Friday for the deal you need. Make sure to see all the deals that the sale has to offer here and check out our favorites below.

Electronics

Dash/Amazon

- BISSELL Lightweight Upright Vacuum Cleaner $170 (save $60)

- Dash Deluxe Air Fryer $80 (save $20)

- Dash Rapid 6-Egg Cooker $17 (save $3)

- Keurig K-Café Single Coffee Maker $169 (save $30)

- COMFEE Toaster Oven $29 (save $9)

- AmazonBasics 1500W Oscillating Ceramic Heater $31 (save $4)

Home office Essentials

HP/Amazon

- HP Neverstop Laser Printer $250 (save $30)

- HP ScanJet Pro 2500 f1 Flatbed OCR Scanner $274 (save $25)

- HP Printer Paper (500 Sheets) $5 (save $2)

- Mead Composition Books Pack of 5 Ruled Notebooks $11 (save $2)

- Swingline Desktop Hole Punch $7 (save $17)

- Officemate OIC Achieva Side Load Letter Tray $15 (save $7)

- PILOT G2 Premium Rolling Ball Gel Pens 12-Pack $10 (save $3)

Toys and games

Selieve/Amazon

- Selieve Toys Old Children's Walkie Talkies $17 (save $7)

- Yard Games Giant Tumbling Timbers $59 (save $21)

- Duckura Jump Rocket Launchers $11 (save $17)

- EXERCISE N PLAY Automatic Launcher Baseball Bat $14 (save $29)

- Holy Stone HS165 GPS Drones with 2K HD Camera $95 (save $40)

Home Improvement

DEWALT/Amazon

- DEWALT 20V MAX LED Hand Held Work Light $54 (save $65)

- Duck EZ Packing Tape with Dispenser, 6 Rolls $11 (save $6)

- Bissell MultiClean Wet/Dry Garage Auto Vacuum $111 (save $39)

- Full Circle Sinksational Sink Strainer with Stopper $5 (save $2)

Home Décor

NECA/Amazon

- A Christmas Story 20-Inch Leg Lamp Prop Replica by NECA $41 save $5

- SYLVANIA 100 LED Warm White Mini Lights $8 (save 2)

- Yankee Candle Large Jar Candle Vanilla Cupcake $17 (save $12)

- Malden 8-Opening Matted Collage Picture Frame $20 (save $8)

- Lush Decor Blue and Gray Flower Curtains Pair $57 (save $55)

- LEVOIT Essential Oil Diffuser $25 (save $5)

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12 Surprising Facts About T.S. Eliot

Getty
Getty

Born September 26, 1888, modernist poet and playwright Thomas Stearns (T.S.) Eliot is best known for writing "The Waste Land." But the 1948 winner of the Nobel Prize in Literature was also a prankster who coined a perennially popular curse word, and created the characters brought to life in the Broadway musical "Cats." In honor of Eliot’s birthday, here are a few things you might not know about the writer.

1. T.S. Eliot enjoyed holding down "real" jobs.

Throughout his life, Eliot supported himself by working as a teacher, banker, and editor. He could only write poetry in his spare time, but he preferred it that way. In a 1959 interview with The Paris Review, Eliot remarked that his banking and publishing jobs actually helped him be a better poet. “I feel quite sure that if I’d started by having independent means, if I hadn’t had to bother about earning a living and could have given all my time to poetry, it would have had a deadening influence on me,” Eliot said. “The danger, as a rule, of having nothing else to do is that one might write too much rather than concentrating and perfecting smaller amounts.”

2. One of the longest-running Broadway shows ever exists thanks to T.S. Eliot.

Getty Images

In 1939, Eliot published a book of poetry, Old Possum’s Book of Practical Cats, which included feline-focused verses he likely wrote for his godson. In stark contrast to most of Eliot's other works—which are complex and frequently nihilistic—the poems here were decidedly playful. For Eliot, there was never any tension between those two modes: “One wants to keep one’s hand in, you know, in every type of poem, serious and frivolous and proper and improper. One doesn’t want to lose one’s skill,” he explained in his Paris Review interview. A fan of Eliot's Old Possum’s Book of Practical Cats since childhood, in the late '70s, Andrew Lloyd Webber decided to set many of Eliot's poems to music. The result: the massively successful stage production "Cats," which opened in London in 1981 and, after its 1982 NYC debut, became one of the longest-running Broadway shows of all time.

3. Three hours per day was his T.S. Eliot’s writing limit.

Eliot wrote poems and plays partly on a typewriter and partly with pencil and paper. But no matter what method he used, he tried to always keep a three hour writing limit. “I sometimes found at first that I wanted to go on longer, but when I looked at the stuff the next day, what I’d done after the three hours were up was never satisfactory," he explained. "It’s much better to stop and think about something else quite different.”

4. T.S. Eliot considered "Four Quartets" to be his best work.

In 1927, Eliot converted to Anglicanism and became a British citizen. His poems and plays in the 1930s and 1940s—including "Ash Wednesday," "Murder in the Cathedral," and "Four Quartets"—reveal themes of religion, faith, and divinity. He considered "Four Quartets,” a set of four poems that explored philosophy and spirituality, to be his best writing. Out of the four, the last is his favorite.

5. T.S. Eliot had an epistolary friendship with Groucho Marx.

Eliot wrote comedian Groucho Marx a fan letter in 1961. Marx replied, gave Eliot a photo of himself, and started a correspondence with the poet. After writing back and forth for a few years, they met in real life in 1964, when Eliot hosted Marx and his wife for dinner at his London home. The two men, unfortunately, didn’t hit it off. The main issue, according to a letter Marx wrote his brother: the comedian had hoped he was in for a "Literary Evening," and tried to discuss King Lear. All Eliot wanted to talk about was Marx's 1933 comedy Duck Soup. (In a 2014 piece for The New Yorker, Lee Siegel suggests there had been "simmering tension" all along, even in their early correspondence.)

6. Ezra Pound tried to crowdfund T.S. Eliot’s writing.

Wikimedia Commons // Public Domain

In 1921, Eliot took a few months off from his banking job after a nervous breakdown. During this time, he finished writing "The Waste Land," which his friend and fellow poet Ezra Pound edited. Pound, with the help of other Bohemian writers, set up Bel Esprit, a fund to raise money for Eliot so he could quit his bank job to focus on writing full-time. Pound managed to get several subscribers to pledge money to Eliot, but Eliot didn’t want to give up his career, which he genuinely liked. The Liverpool Post, Chicago Daily Tribune, and the New York Tribune reported on Pound’s crowdfunding campaign, incorrectly stating that Eliot had taken the money, but continued working at the bank. After Eliot protested, the newspapers printed a retraction.

7. Writing in French helped T.S. Eliot overcome writer’s block.

After studying at Harvard, Eliot spent a year in Paris and fantasized about writing in French rather than English. Although little ever came of that fantasy, during a period of writer’s block, Eliot did manage to write a few poems in French. “That was a very curious thing which I can’t altogether explain. At that period I thought I’d dried up completely. I hadn’t written anything for some time and was rather desperate,” he told The Paris Review. “I started writing a few things in French and found I could, at that period ...Then I suddenly began writing in English again and lost all desire to go on with French. I think it was just something that helped me get started again."

8. T.S. Eliot set off stink bombs in London with his nephew.

Eliot, whose friends and family called him Tom, was supposedly a big prankster. When his nephew was young, Eliot took him to a joke shop in London to purchase stink bombs, which they promptly set off in the lobby of a nearby hotel. Eliot was also known to hand out exploding cigars, and put whoopee cushions on the chairs of his guests.

9. T.S. Eliot may have been the first person to write the word "bulls**t."

In the early 1910s, Eliot wrote a poem called "The Triumph of Bulls**t." Like an early 20th-century Taylor Swift tune, the poem was Eliot’s way of dissing his haters. In 1915, he submitted the poem to a London magazine … which rejected it for publication. The word bulls**t isn’t in the poem itself, only the poem’s title, but The Oxford English Dictionary credits the poem with being the first time the curse word ever appeared in print.

10. T.S. Eliot coined the expression “April is the cruelest month.”

Thanks to Eliot, the phrase “April is the cruelest month” has become an oft-quoted, well-known expression. It comes from the opening lines of "The Waste Land”: “April is the cruelest month, breeding/Lilacs out of the dead land, mixing/Memory and desire, stirring/Dull roots with spring rain.”

11. T.S. Eliot held some troubling beliefs about religion.

Over the years, Eliot made some incredibly problematic remarks about Jewish people, including arguing that members of a society should have a shared religious background, and that a large number of Jews creates an undesirably heterogeneous culture. Many of his early writing also featured offensive portrayals of Jewish characters. (As one critic, Joseph Black, pointed out in a 2010 edition of "The Waste Land" and Other Poems, "Few published works displayed the consistency of association that one finds in Eliot's early poetry between what is Jewish and what is squalid and distasteful.") Eliot's defenders argue that the poet's relationship with Jewish people was much more nuanced that his early poems suggest, and point to his close relationships with a number of Jewish writers and artists.

12. You can watch a movie based on T.S. Eliot’s (really bad) marriage.

Wikimedia Commons // Public Domain

Tom & Viv, a 1994 film starring Willem Dafoe, explores Eliot’s tumultuous marriage to Vivienne Haigh-Wood, a dancer and socialite. The couple married in 1915, a few months after they met, but the relationship quickly soured. Haigh-Wood had constant physical ailments, mental health problems, and was addicted to ether. The couple spent a lot of time apart and separated in the 1930s; she died in a mental hospital in 1947. Eliot would go on to remarry at the age of 68—his 30-year-old secretary, Esmé Valerie Fletcher—and would later reveal that his state of despair during his first marriage was the catalyst and inspiration for "The Waste Land."

This story has been updated for 2020.