KNOTT'S BERRY FARM theme park Snoopy Charlie Brown attractions Charles M. Schulz

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This is an original set of four glossy 8×10 press photos sent out to newspapers and magazines to promote various Peanuts attractions at Knott’s Berry Farm theme park in Pasadena, Calif. Only one is dated . . . 1994. The others are probably from that era as well. An original, 2-page Happy Birthday, Camp Snoopy! Fact Sheet is included. 1. Snoopy, Charlie Brown and Lucy present the Peanuts Festival, which features the Snoopy Crew Rock ‘n’ Roll Revue.2. Snoopy and his sister, Belle, show off some of the original outfits created for them for the Snoopy in Fashion display. They can be seen modeling wedding outfits by Emanuel of England and a nighttime ensemble by France’s Paco Rabanne. This photo is dated 1994.3. The Snoopy Crew Rock ‘n’ Roll Revue features Sally, Snoopy, Charlie Brown (on bass!), Schroeder and Lucy.4. Knott’s 17th annual Country Fair features the Snoopy as the Easter Beagle. BACKGROUND Knott’s Berry Farm is a 57-acre (2,500,000 sq ft) theme park located in Buena Park, California, owned and operated by Cedar Fair. In March 2015, it was ranked as the twelfth-most-visited theme park in North America, while averaging approximately 4 million visitors per year. The park features over 40 rides, including roller coasters, family rides, dark rides, and water rides. Walter and Cordelia Knott first settled in Buena Park in 1920. The park began as a roadside berry stand run by Walter Knott along State Route 39 in California. By the 1940s, a restaurant, several shops, and other attractions had been constructed on the property to entertain a growing number of visitors, including a replica ghost town. The site continued its transformation into a modern amusement park over the next two decades, and an admission charge was added in 1968. In 1997, the park was sold to Cedar Fair for $300 million.[2][3] HistoryMain article: History of Knott’s Berry Farm OriginThe Timber Mountain Log Ride is one of Knott’s Berry Farm’s most popular rides. The park sits on the site of a former berry farm established by Walter Knott and his family. Beginning in 1923,[4] the Knott family sold berries, berry preserves, and pies from a roadside stand along State Route 39. In June 1934, the Knotts began selling fried chicken dinners in a tea room on the property, later named “Mrs. Knott’s Chicken Dinner Restaurant.”[5] The dinners soon became a major tourist draw, and the Knotts built several shops and other attractions to entertain visitors waiting for a seat in the restaurant. In 1940, Walter Knott began constructing a replica Ghost Town on the property, the beginning of the present-day theme park. Ghost Town was Walter Knott’s tribute to the pioneers, which included his own grandparents who came to California in a covered wagon from Texas in 1868 (when his mother was about four years old).[6][7][8][9] The idea of an amusement park picked up in the 1950s when Walter Knott opened a “summer-long county fair.”[10] Knott’s first theme park logo, composed of a prospector with a pack mule Wood carver H. S. “Andy” Anderson with Sad Eye Joe in the Ghost Town area of the park, 1941 Paul von Klieben was the key employee of Walter Knott in the creation of the Ghost Town at Knott’s Berry Farm and the restoration of the ghost town of Calico, California. In 1941, he joined Knott’s as a staff artist, then served as art director there from 1943 to 1953. He traveled to ghost towns in the West, conducted research, and designed most of the Ghost Town section of Knott’s Berry Farm. He created concept art for most of the buildings that were built there. He also drew up floor plans, oversaw the construction of buildings, and even spent some time painting concrete to look like natural rock. His Old West paintings and murals adorned the walls of many structures in the park, and a number of them still do. His art was also used extensively in Knott’s newspapers, menus, brochures, catalogs and other publications.[11][12][13][14] In 1956, Walter Knott arranged with Marion Speer to bring his Western Trails Museum collection to Knott’s Berry Farm. Speer had been an enthusiastic supporter of Walter Knott’s efforts to create Ghost Town, and had written articles for Knott’s newspaper, the Ghost Town News. In 1956, twenty years after creating his museum, Marion Speer (at age 72) donated the carefully cataloged collection (30,000 items) to Knott’s in return for Knott’s housing it, displaying it and naming Speer as curator. Speer continued in that position until he retired in 1969 at the age of 84.[15][16][17][18][19] The original Western Trails Museum building at Knott’s was either made of rammed-earth construction or concrete made to look like rammed-earth. This construction technique is fireproof and was used in the old mining town of Calico, California. This ca 1983 photo is courtesy of the Orange County Archives. The museum was once housed in a building (which has since been razed) at Knott’s Berry Farm between Jeffries Barn (now known as the Wilderness Dance Hall) and the schoolhouse. The Western Trails Museum at Knott’s is now just south of the saloon in Ghost Town.[20][16][21] The park became a popular destination for conservative college students in the 1960s, especially as conservative organizations like the California Free Enterprise Association, the Libres Foundation, and the Americanism Educational League were based there.[22] According to Assistant Professor Caroline Rolland-Diamond of the Paris West University Nanterre La Défense: it also appealed to conservative Americans, young and old, because the idealized representation of a past devoid of social and racial tensions that it offered stood in sharp contrast with the political and social upheavals affecting California since the Free Speech Movement erupted at the University of California at Berkeley in 1964.— Caroline Rolland-Diamond, Revue française d’études américaines (2016)[23] In the late 1960’s a 10 ft. high brick wall with barbed wire embedded into the top was constructed around “Ghost Town” and for the first time, in 1968, an admission price was required to get into that section of the park (ostensibly to keep out the “hippies” and local long-haired youth from freely “hanging out” in the park that were, on occasion, causing problems and degrading the Knott’s “family” image). The entrance price originally being set at $1 for adults and 25¢ for children.[24] Previous to this, entry was free and the cost was based on purchasing a ticket for each ride, using the A-E ticketing system similar to that of Disneyland. The Calico Log Ride (the original name of the Timber Mountain Log Ride) opened in 1969.[25] Also during this period, an attempt to create a monorail system between Knott’s and Disneyland was reportedly in the works for many years, however, project construction never began due to costs and legal issues obtaining needed property and gaining necessary right-of-way access. When Cordelia Knott died on April 12, 1974, Walter turned his attention toward political causes.[26][27] The Roaring Twenties[28] rethemed Gypsy Camp in the 1970s with the addition of a nostalgic traditional amusement area, Wheeler Dealer Bumper Cars, and Knott’s Bear-y Tales. Then with the northward expansion of a 1920s-era Knott’s Airfield-themed area featuring the Cloud 9 Dance Hall, Sky Cabin/Sky Jump and Motorcycle Chase steeplechase roller coaster above the electric guided rail Gasoline Alley car ride.[29] The Sky Tower with the illuminated “K” in logo script at the top was built to support two attractions, the Sky Jump, operated from 1976 to 1999,[30] and the Sky Cabin. The Sky Jump boarded one or two standing riders anticipating the thrill of the drop into baskets beneath a faux parachute canopy. From the top, twelve arms supported the vertical cable tracks of wire rope which lifted the baskets. The Sky Cabin ringed the support pole with a single floor of seats that are enclosed behind windows. Its ring revolves slowly as it rises to the top and back offering a pleasantly changing vista. It is very sensitive to weather and passenger motion, such as walking, which is prohibited during the trip. During winds 25+ mph or rain it is closed. When built, the tower was the tallest structure in Orange County[31] (a distinction briefly held by WindSeeker before its relocation to Worlds of Fun in 2012.) The Motorcycle Chase, a modernized steeplechase rollercoaster built in 1976 by Arrow Development, featured single motorbike-themed vehicles racing side-by-side, each on one of four parallel tracks, launched together.[29] One or two riders straddled each “Indian motorcycle” attraction vehicle. The tubular steel monorail track closely followed dips and bumps in “the road” and tilted to lean riders about the curves. Gasoline Alley, an electric steel-guide rail car ride below, was built together and intimately intertwined, which enhanced ride-to-ride interaction thrill value.[32] Rider safety concerns of the high center of gravity coupled with the method of rider restraints caused it to be rethemed Wacky Soap Box Racers with vehicles themed to look like soap box racers, each seating two riders, strapped in low (nearly straddling the track), surrounded by the close-fitting car sides, and the dips and bumps of the track were straightened flat in 1980. Motorcycle Chase/Wacky Soap Box Racers was removed in 1996 for a dueling loop coaster Windjammer Surf Racers and now Xcelerator, a vertical launch coaster, takes its place. On December 3, 1981, Walter Knott died,[33] survived by his children who would continue to operate Knott’s as a family business for another fourteen years. In the 1980s, Knott’s built the Calico Barn Dance featured Bobbi & Clyde as the house band. It was during the height of the “Urban Cowboy” era. The “Calico Barn Dance” was featured in Knott’s TV commercials. Bigfoot Rapids (now Calico River Rapids) was located in the Wild Water Wilderness section of the park. During the 1980s, Knott’s met the competition in Southern California theme parks by theming a new land and building two massive attractions: Kingdom of the Dinosaurs, a primeval retheme of Knott’s Bear-y Tales), in 1987 and Bigfoot Rapids in 1988, a whitewater river rafting ride as the centerpiece of the new themed area Wild Water Wilderness. The Boomerang roller coaster replaced Corkscrew[28] in 1990 with a lift shuttle train passing to and from through a cobra roll and a vertical loop for six inversions each trip. The Mystery Lodge (1994),[34] inspired by General Motors “Spirit Lodge” pavilion, was a live show augmented with Pepper’s ghost and other special effects, which was among the most popular exhibits at Expo 86 in Vancouver, British Columbia, Canada, which was produced by Bob Rogers of BRC Imagination Arts[35] and created with the assistance of the Kwagulth Native reserve in the village of Alert Bay, British Columbia.[36] Mystery Lodge recreates a quiet summer night in Alert Bay, then guests “move inside” the longhouse and listen to the storyteller weave a tale of the importance of family from the smoke of the bonfire. The Jaguar! was opened on June 17, 1995, to add another roller coaster to the mix of Fiesta Village alongside Montezooma’s Revenge. New owners In the 1990s, after Walter and Cordelia died, their children decided to sell off their businesses. In 1995, the Knott family sold the food specialty business to ConAgra Inc,[2] which later re-sold the brand to The J.M. Smucker Company in 2008.[37] (In 2024, Smuckers discontinued sale of the Knott’s Berry Farm jams in grocery stores.[38]) On December 29, 1997, the Knott family sold the amusement park operations to Cedar Fair. Initially, the Knotts were given an opportunity to sell the park to The Walt Disney Company. The park would have been amalgamated into the Disneyland Resort and converted into Disney’s America, which had previously failed to be built near Washington, D.C. The Knotts refused to sell the park to Disney out of fear most of what Walter Knott had built would be eliminated. In the late 1990s, Cedar Fair also acquired the Buena Park Hotel, located at the northwest corner of Grand and Crescent Avenues.[39] It was then brought up to Radisson standards and branded Radisson Resort Hotel as a franchise. In 2004, the park renamed the Radisson Resort Hotel the Knott’s Berry Farm Resort Hotel.[40] Post-Cedar Fair acquisitionView of Silver Bullet from Sky Cabin Hangtime debuted as the park’s latest major roller coaster since Silver Bullet on May 16, 2018. Knott’s Bear-y Tales: Return To The Fair opened to season passholders on May 6, 2021. Since being acquired by Cedar Fair, the park has seen an aggressive shift towards thrill rides, with the construction of several large roller coasters and the addition of a record-breaking Shoot-the-Chutes ride named Perilous Plunge. Perilous Plunge had the record of being the tallest and steepest water ride in the world until September 2012 when it was closed and removed.[41] Also, in 2013, Knott’s Berry Farm announced that one of the most popular rides at the park, the Timber Mountain Log Ride, would be closed for a significant five-month refurbishment, led by Garner Holt Productions, Inc.[42] On May 25, 2013, Knott’s Berry Farm added three new family rides on the site of the former Perilous Plunge, including a wild mouse called Coast Rider, a scrambler flat ride called Pacific Scrambler, and Surfside Gliders. All three were constructed in the Boardwalk section of the park. An old bridge that connected the exit of Coast Rider and the Boardwalk became the entrance to Surfside Gliders and Pacific Scrambler. Following the 2013 season, Knott’s Berry Farm removed Windseeker and moved it to Worlds of Fun, where it reopened in 2014. For the 2014 season, the historical Calico Mine Ride underwent a major refurbishment completed in six months.[43] During the fall of 2019, Knott’s Berry Farm announced the return of Knott’s Bear-y Tales as an interactive 4D dark ride as part of the park’s 100th anniversary in 2020. However, the park was indefinitely shut down due to the COVID-19 pandemic at the end of its operating day on March 13, 2020.[44] Knott’s Bear-y Tales and other planned changes to the park were postponed to 2021.[45] In June 2020, Knott’s Marketplace reopened with health guidelines in place.[46] The following month, the park introduced Taste of Calico, an outdoor food festival on weekends located in the Ghost Town section of the park. The event evolved over the season, becoming Taste of Knott’s when it expanded into Fiesta Village and the Boardwalk, Taste of Fall-o-ween during the fall season,[47] and Taste of Merry Farm for the Christmas holiday season which was cancelled in December 2020 due to the regional stay at home order issued by California Governor Gavin Newsom.[48] Amusement Today recognized the Taste Of events in its annual Golden Ticket Awards, awarding the park under the category “Industry Leader: Amusement/Theme Park” for its innovative approach.[49] Knott’s Berry Farm returned to normal operation on May 6, 2021, including the debut of the delayed Knott’s Bear-y Tales attraction originally planned for 2020.[50] TimelinePark timeline Annual park eventsSee also: Knott’s Scary Farm Knott’s Scary Farm event The park’s annual Knott’s Scary Farm has drawn crowds since 1973. The idea for this event was presented at one of the regularly scheduled round table meetings for managers by Patricia Pawson. The actual event was created by Bill Hollingshead, Gary Salisbury, Martha Boyd and Gene Witham, along with other members of the Knott’s Berry Farm Entertainment Department as documented in the DVD Season of Screams. Initially, fake corpses and other static figures were rented from a Hollywood prop house, but Bud Hurlbut, the creator/concessionaire of the Mine Ride, Log Ride and other rides at Knott’s, decided that this wasn’t enough.[60] He dressed up in a gorilla suit and started scaring guests on the Mine Ride. Halloween Haunt was an instant hit, and by the next year, the event sold out nightly.[61] During this special ticketed event, the entire park (or major portions of it) re-themes itself into a “haunted house” style attraction in the form of mazes and “scare zones” in the evening. Over a thousand specially employed monsters are also scattered—often hidden out of view—throughout the park at this time. Some of the characters have become well-known, such as the Green Witch, which was portrayed by Charlene Parker from 1983 to 2017, the longest of any performer.[62][63][64][65][66][67][68] Several attractions are decorated for the event including the Timber Mountain Log Ride and Calico Mine Train and there are 13 mazes of various themes. Elvira (actress Cassandra Peterson) was introduced into the Halloween Event in 1982 and was prominently featured in many Halloween Haunt events until 2001. According to postings on her My Space page, Cassandra was released from her contract by the park’s new owners due to their wanting a more family-friendly appeal.[69] She returned for one night in 2012 for the 40th anniversary of the event then again featured in her nightly show from 2014 to 2017.[70] During October, Knott’s Scary Farm generates half the revenue for Knott’s Berry Farm’s fiscal year.[citation needed] Season of Screams is a DVD produced by an independent company that traces the beginnings of Halloween Haunt and the story behind how it all got started back in 1973. Season of Screams also highlights recent Halloween Haunts. Winter Coaster Solace is an event that takes place on the first or second weekend of March every year when roller coaster enthusiasts can come before the park opens and stay after the park closes to ride the rides and eat at the Chicken Dinner Restaurant. It is intended to provide “solace” to visitors from other parts of the country where theme parks and roller coasters are seasonal, not year-round operations like the Southern California parks. Knott’s Berry Farm also used to give attendees behind-the-scenes tours of the rides. A Christmas event known as “Knott’s Merry Farm” also happens annually. Previous Merry Farm events have included manufactured snow, handcraft exhibits, and a visit with Santa Claus. This event was created by Gary Salisbury in the fall of 1985. Praise has been a Christian-themed celebration presented for many years as a mix-in special event of music and comedy on New Year’s Eve. A boysenberry festival is held at Knott’s that has food and drink prepared in a variety of ways with boysenberries. There are also special shows and music for the multi-week event.[71] Areas and attractionsThis section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. Find sources: “Knott’s Berry Farm” – news · newspapers · books · scholar · JSTOR (July 2022) (Learn how and when to remove this message) The park consists of four themed areas: Ghost TownFiesta VillageThe BoardwalkCamp Snoopy Ghost TownButterfield Stagecoach’s entrance Charlene Parker, a spinner and weaver in Ghost Town Ghost Town is based on the Calico ghost town and other real ghost towns in the Western United States. Walter Knott inherited his uncle’s silver mill and land, then bought more of the actual ghost town in 1951 and developed it. In 1966, he donated that property to the corporate-municipal County of San Bernardino which then made the town of Calico, California, into a public historic park, for which it charged an entrance/parking fee. Craftsmen in Ghost Town demonstrate the arts of the blacksmith, woodcarver, glassblower, sign cutter, and spinner. Demonstrations of narrow-gauge railroading and farm equipment hobbyists accompany additional merchant stalls of cottage-craft fairs seasonally at discounted admission which is restricted to Ghost Town only. The Ghost Town area has a few other notable attractions. The Bird Cage Theatre is an old-fashioned theater in Ghost Town. It only hosts two seasonal entertainments—during “Knott’s Merry Farm”, which includes two small productions: “Marley’s Wings” and “A Christmas Carol”, for the 2021 season, and “The Gift of the Magi” and “A Christmas Carol” for the 2022 season, and as well as a Halloween Haunt thrill show. The Calico Stage, a large open-air stage in Calico Square, hosts a variety of shows and acts, big and small, from “Home for the Holidays”, a Knott’s Merry Farm Christmas skit with singing, those of elementary school students, Gallagher, a local band, and the summer-spectacular All Wheels Extreme stunt show featuring youthful performers demonstrating aerial tricks with acrobatics, trampolines, and riding ramps with skates, scooters, skateboards, and freestyle bikes to popular music. The Calico Saloon recreates the revelry of music, singing and dancing, with Cameo Kate hosting a variety of acts. Jersey Lily, Judge Roy Bean’s combination courthouse/saloon, offers certified comical “genuine illegal hitchin'” alongside pickles, candy, and sports/soft drinks. The park formerly featured a 5th area. Formerly known as Wild Water Wilderness, now part of Ghost Town, the area features two major rides: the Pony Express, a horse-themed family roller coaster installed in 2008 and Calico River Rapids, which opened in 1988 and was refurbished with a new theme for the 2019 season. Nearby Pony Express is Rapids Trader, a small merchandise stand. It is also home to Mystery Lodge, a multimedia show based on an Expo 86 pavilion featuring a Native American storyteller. Western Trails Museum, relocated between the candy store and the General Store to accommodate Calico River Rapids (formerly Bigfoot Rapids), still features historical western artifacts large and small, from a hand-powered horse-drawn fire engine to a miniature replica of a borax hauling “Twenty Mule Team” and utensils necessary to survive the prairie and wilderness. A common misconception is that at Knott’s the terms “Ghost Town” and “Calico” are interchangeable, but that is not the case. Walter Knott explained that he built Ghost Town as a composite to represent ghost towns throughout the West, rather than as a replica of any one particular ghost town. The Calico Saloon was not named “Ghost Town” because it is supposedly located in Calico. Rather, it was named for the tradition of lining Gold-Rush-era buildings with red calico fabric. Also, the Ghost Town & Calico Railroad was named because “Ghost Town” and “Calico” are two separate places. Walter Knott always referred to the Old West section of Knott’s Berry Farm as “Ghost Town”, not “Calico.”[72][73][74][75][76] Some parts of Ghost Town are forever lost to progress. The conversion of the Silver Dollar Saloon to a shooting gallery, Hunters Paradise shooting gallery to Panda Express and the original Berry Stand, moved several times with its last location now occupied by the Silver Bullet station. Peanuts is a syndicated daily and Sunday American comic strip written and illustrated by Charles M. Schulz. The strip’s original run extended from 1950 to 2000, continuing in reruns afterward. Peanuts is among the most popular and influential in the history of comic strips, with 17,897 strips published in all,[1] making it “arguably the longest story ever told by one human being”;[2] it is considered to be the grandfather of slice of life cartoons.[not verified in body] At the time of Schulz’s death in 2000, Peanuts ran in over 2,600 newspapers, with a readership of roughly 355 million across 75 countries, and had been translated into 21 languages.[3] It helped to cement the four-panel gag strip as the standard in the United States,[[[Wikipedia:Citing_sources|page needed]]]_4-0″ class=”reference”>[[[Wikipedia:Citing_sources|page needed]]]-4″>[4] and together with its merchandise earned Schulz more than $1 billion.[1] Peanuts focuses on a social circle of young children, where adults exist but are rarely seen or heard. The main character, Charlie Brown, is meek, nervous, and lacks self-confidence. He is unable to fly a kite, win a baseball game, or kick a football held by his irascible friend Lucy, who always pulls it away at the last instant.[5] Peanuts is a literate strip with philosophical, psychological, and sociological overtones, which was innovative in the 1950s.[6] Its humor is psychologically complex and driven by the characters’ interactions and relationships. The comic strip has been adapted in animation and theater. Schulz drew the strip for nearly 50 years, with no assistants, even in the lettering and coloring process.[7] Title Peanuts was originally sold under the title of Li’l Folks, but that had been used before, so they said we have to think of another title. I couldn’t think of one and somebody at United Features came up with the miserable title Peanuts, which I hate and have always hated. It has no dignity and it’s not descriptive. […] What could I do? Here I was, an unknown kid from St. Paul. I couldn’t think of anything else. I said, why don’t we call it Charlie Brown and the president said “Well, we can’t copyright a name like that.” I didn’t ask them about Nancy or Steve Canyon. I was in no position to argue. —Charles Schulz, in a 1987 interview with Frank Pauer in Dayton Daily News and Journal Herald Magazine[8] Peanuts had its origin in Li’l Folks, a weekly panel cartoon that appeared in Schulz’s hometown newspaper, the St. Paul Pioneer Press, from 1947 to 1950. Elementary details of the cartoon shared similarities to Peanuts. The name “Charlie Brown” was first used there. The series also had a dog that looked much like the early 1950s version of Snoopy.[9] Schulz submitted his Li’l Folks cartoons to United Features Syndicate (UFS), who responded with interest. He visited the syndicate in New York City and presented a package of new comic strips he had worked on, rather than the panel cartoons he submitted. UFS found they preferred the comic strip.[8][10] When UFS was preparing to syndicate the comic strip as Li’l Folk, Tack Knight, who authored the retired 1930s comic strip Little Folks, sought to claim exclusive rights to the title being used. Schulz argued in a letter to Knight that the contraction of Little to Li’l was intended to avoid this conflict, but conceded that the final decision would be for the syndicate. A different name for the comic strip became necessary after legal advice confirmed that Little Folks was a registered trademark.[11] Meanwhile, the production manager of UFS noted the popularity of the children’s program Howdy Doody. The show featured an audience of children who were seated in the “Peanut Gallery”, and were referred to as “Peanuts”. This inspired the decided title that was forced upon Schulz, to his consternation.[12] Schulz hated the title Peanuts, which remained a source of irritation to him throughout his life. He accused the production manager at UFS of not having even seen the comic strip before giving it a title, and he said that the title would only make sense if there was a character named “Peanuts”.[13] On the day it was syndicated, Schulz’s friend visited a news stand in uptown Minneapolis and asked if there were any newspapers that carried Peanuts, to which the newsdealer replied, “No, and we don’t have any with popcorn either”, which confirmed Schulz’s fears concerning the title.[14] Whenever Schulz was asked what he did for a living, he would evade mentioning the title and say, “I draw that comic strip with Snoopy in it, Charlie Brown and his dog”.[15] In 1997 Schulz said that he had discussed changing the title to Charlie Brown on multiple occasions in the past but found that it would ultimately cause problems with licensees who already incorporated the existing title into their products, with unnecessary expenses involved for all downstream licensees to change it.[16] History1950sThe first Peanuts strip from October 2, 1950 with (left to right) Charlie Brown, Shermy, and Patty The strip began as a daily strip on October 2, 1950, in seven newspapers: the Minneapolis Star, a hometown newspaper of Schulz (page 37, along with a short article); The Washington Post; Chicago Tribune; The Denver Post; The Seattle Times; and two newspapers in Pennsylvania, Evening Chronicle (Allentown) and Globe-Times (Bethlehem).[17] The first strip was four panels long and showed Charlie Brown walking by two other young children, Shermy and Patty. Shermy lauds Charlie Brown as he walks by, but then tells Patty how he hates him in the final panel. Snoopy was also an early character in the strip, first appearing in the third strip, which ran on October 4.[18] 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 regulars of the strip 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), Franklin (July 1968), Woodstock (introduced March 1966, officially named June 1970), 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. Schulz did, however, hire help to produce the comic book adaptations of Peanuts.[19] 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.”[20] Schulz held this belief all his life, reaffirming in 1994 the importance of crafting the strip himself: “This is not a crazy business about slinging ink. This is a deadly serious business.”[21] 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. 1960s The 1960s is generally considered to be the “golden age” for Peanuts.[22] During this period, some of the strip’s best-known themes and characters appeared, including Peppermint Patty,[23] Snoopy as the “World War One Flying Ace”,[24] Frieda and her “naturally curly hair”,[25] and Franklin.[26] 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 assume them to be self-evident. Peppermint Patty’s athletic skill and self-confidence are simply taken for granted, for example, as is Franklin’s presence in a racially integrated school and neighborhood. (Franklin’s creation occurred at least in part as a result of Schulz’s 1968 correspondence with a socially progressive fan.[27][28]) The fact that Charlie Brown’s baseball team had three girls on it was also at least ten years ahead of its time. The 1966 prime time television special Charlie Brown’s All Stars! dealt with Charlie Brown refusing sponsorship of his team on the condition he fire the girls and Snoopy, because the league does not allow girls or dogs to play. Schulz threw satirical barbs at any number of topics when he chose. His child and animal characters satirized the adult world.[29] Over the years he tackled everything from the Vietnam War to school dress codes to “New Math”. The May 20, 1962 strip featured an icon that stated “Defend Freedom, Buy U.S. Savings Bonds.”[30] In 1963 he added a little boy named “5” to the cast,[31] whose sisters were named “3” and “4,”[32] and whose father had changed their family name to their ZIP Code, giving in to the way numbers were taking over people’s identities. Also in 1963, one strip showed Sally being secretive about school prayer, in reference to the Supreme Court decisions on it that year.[33] 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 touched on religious themes on many occasions, especially during the 1960s. The classic television special A Charlie Brown Christmas from 1965, 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.[34] During the week of July 29, 1968, Schulz debuted the African American character Franklin to the strip, at the urging of white Jewish Los Angeles schoolteacher Harriet Glickman. Though Schulz feared that adding a black character would be seen as patronizing to the African American community, Glickman convinced him that the addition of Black characters could help normalize the idea of friendships between children of different ethnicities. Franklin appeared in a trio of strips set at a beach, in which he first gets Charlie Brown’s beach ball from the water and subsequently helps him build a sand castle, during which he mentions that his father is in Vietnam. 1970s–1990s In 1975, the panel format was shortened slightly horizontally, and shortly thereafter the lettering became larger to compensate. Previously, 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. Beginning on Leap 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] In the late 1970s, during Schulz’s negotiations with United Feature Syndicate over a new contract, syndicate president William C. Payette hired superhero comic artist Al Plastino to draw a backlog of Peanuts strips to hold in reserve in case Schulz left the strip. When Schulz and the syndicate reached a successful agreement, United Media stored these unpublished strips, the existence of which eventually became public.[35] Plastino himself also claimed to have ghostwritten for Schulz while Schulz underwent heart surgery in 1983.[36] In the 1980s and the 1990s, the strip remained the most popular comic in history,[37] even though other comics, such as Garfield and Calvin and Hobbes, rivaled Peanuts in popularity. Schulz continued to write the strip until announcing his retirement on December 14, 1999, due to his failing health. 2000: End of PeanutsThis section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. Find sources: “Peanuts” – news · newspapers · books · scholar · JSTOR (September 2021) (Learn how and when to remove this message) Final Sunday strip, which came out February 13, 2000: a day after the death of Charles M. Schulz The last three Peanuts strips were run from Saturday, January 1, 2000, through Monday, January 3, 2000. The Saturday strip showed a snowball fight between Peppermint Patty and Marcie and Charlie Brown and Linus, with Snoopy sitting behind the fight trying to figure out how to throw a snowball. The strip was notable because, in addition to it being the last daily strip with a story, Schulz’s health had deteriorated to the point where the lettering in the strip had to be done by computer. The Sunday strip featured the last appearances of Peppermint Patty and Marcie, with Peppermint Patty playing a game of football in the rain by herself. Marcie comes up, carrying an umbrella and remarking that everyone has gone home. Peppermint Patty laments that they never shook hands and said “good game”.[38] The January 3 strip consisted of a drawing of Snoopy sitting atop his doghouse with his typewriter, as he had done many times over the course of the strip’s lifespan. The drawing was accompanied by a printed note from Schulz which officially announced his retirement from drawing and thanking his readers for their support. Although a series of reruns of older strips would begin on January 4, 2000, there were still six unpublished Sunday strips that Schulz had completed. The first of these ran on January 9, featuring Rerun and Snoopy playing in the snow.[39]The second featured the last appearance of Woodstock, as he and Snoopy in one last fantasy sequence are called upon by George Washington to chop firewood.[40]Rerun makes his final appearance in the fourth, trying to paint something other than flowers in art class, and Sally makes her last appearance in the fifth conversing with Charlie Brown about love letters. The final Peanuts strip, as shown here, ran on February 13, 2000, the night after Schulz died from a heart attack. It consisted of two small panels across the top and a large panel at the bottom. The title panel shows Charlie Brown talking to someone on the telephone, who is apparently asking to speak to Snoopy. Charlie Brown responds by telling the caller “no, I think he’s writing”. The second panel shows Snoopy sitting atop his doghouse typing on his typewriter as he had many times before, while the words “Dear Friends…” appeared above his head. The larger panel at the bottom consisted of a larger scale drawing of the final daily strip, with Snoopy against a blue sky background. Above his head, several panels from past strips were overlaid. Underneath these panels, the full note that Schulz had written to his fans was printed (part of it had been omitted in the final daily strip). It 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… — Charles M. Schulz 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.[41] The comic was reprinted the day after that, but only had the farewell letter. After Peanuts ended, 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. 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. Additionally, BOOM! Studios has published a series of comic books that feature new material by new writers and artists, although some of it is based on classic Schulz stories from decades past, as well as including some classic strips by Schulz, mostly Sunday color strips. In early 2011, United Media (the parent of United Feature Syndicate) struck a distribution deal with Universal Uclick (now known as Andrews McMeel Syndication) for syndication of the company’s 150 comic strip and news features, including Peanuts.[42][43][permanent dead link] On January 5, 2015, Universal Uclick’s website, GoComics, announced on that it would be launching “Peanuts Begins”, a feature rerunning the entire history of the strip from the beginning in colorized form. This was done to honor the 65th anniversary of the strip’s debut.[44] CharactersOfficial mural of the Peanuts in Aachen Charlie BrownMain article: Charlie Brown Charlie Brown is a young boy. He is the main character, acting as the center of the strip’s world and serving as an everyman.[45][46][47] While seen as decent, considerate, and reflective, he is also awkward, deeply sensitive, and said to suffer from an inferiority complex. Charlie Brown is a constant failure: he can never win a ballgame; he can never successfully fly a kite.[46][48] His sense of determination regardless of the certainty of failure can be interpreted as either self-defeating stubbornness or admirable persistence. When he fails, however, he experiences pain and anguish through self-pity.[48] The journalist Christopher Caldwell observed this tension between Charlie Brown’s negative and positive attitudes, stating: “What makes Charlie Brown such a rich character is that he’s not purely a loser. The self-loathing that causes him so much anguish is decidedly not self-effacement. Charlie Brown is optimistic enough to think he can earn a sense of self-worth.”[49] Schulz named Charlie Brown after a colleague of his while working at Art Instruction, whose full name was Charlie Francis Brown.[50] Readers and critics have explored the question as to whether Schulz based Charlie Brown on himself. This question often carried the suggestion that the emotionally sensitive and depressed behavior of Charlie Brown drew from Schulz’s own life or childhood experiences.[51][52][53] Commenting on the tendency of these conclusions being drawn, Schulz said in a 1968 interview, “I think of myself as Charles Schulz. But if someone wants to believe I’m really Charlie Brown, well, it makes a good story.”[54] He explained in another interview that the comic strip as a whole is a personal expression, and so it is impossible to avoid all the characters presenting aspects of his personality.[53] Biographer David Michaelis made a similar conclusion, describing Charlie Brown as simply representing Schulz’s “wishy-washiness and determination”.[55] Regardless, some profiles of Schulz confidently held that Charlie Brown was based on him.[56] SnoopyMain article: Snoopy Snoopy is a dog, who later in the development of the strip would be described as a beagle.[57] While generally behaving like a real dog and having a non-speaking role, he connects to readers through having human thoughts.[58][59] Despite acting like a real dog some of the time, Snoopy possesses many different anthropomorphic traits. Most notably, he frequently walks on his hind legs and is able to use tools, including his typewriter. He introduces fantasy elements to the strip by extending his identity through various alter egos. Many of these alter egos, such as a “world-famous” attorney, surgeon or secret agent were seen only once or twice.[60] His character is a mixture of innocence and egotism; he possesses childlike joy, while on occasion being somewhat selfish.[61][62] He has an arrogant commitment to his independence but is often shown to be dependent on humans.[60][61] Schulz was careful in balancing Snoopy’s life between that of a real dog and that of a fantastical character.[63] While the interior of Snoopy’s small doghouse is described in the strip as having such things as a library and a pool table and being adorned with paintings of Wyeth and Van Gogh, it was never shown: it would have demanded an inappropriate kind of suspension of disbelief from readers.[64] Linus and LucyMain articles: Linus van Pelt and Lucy van Pelt Linus and Lucy are siblings; Linus is the younger brother, and Lucy is the older sister.[65] Lucy is bossy, selfish and opinionated, and she often delivers commentary in an honest albeit offensive and sarcastic way.[66][67] Schulz described Lucy as full of misdirected confidence, but having the virtue of being capable of cutting right down to the truth.[68] He said that Lucy is mean because it is funny, particularly because she is a girl: he posited that a boy being mean to girls would not be funny at all, describing a pattern in comic strip writing where it is comical when supposedly weak characters dominate supposedly strong characters.[69] Lucy at times acts as a psychiatrist and charges five cents for psychiatric advice to other characters (usually Charlie Brown) from her “psychiatric booth”, a booth parodying the setup of a lemonade stand.[70] Lucy’s role as a psychiatrist has attracted attention from real-life individuals in the field of psychology; the psychiatrist Athar Yawar playfully identified various moments in the strip where her activities could be characterized as pursuing medical and scientific interests, commenting that “Lucy is very much the modern doctor”.[48] Linus is Charlie Brown’s most loyal and uplifting friend and introduces intellectual, spiritual and reflective elements to the strip. He offers opinions on topics such as literature, art, science, politics and theology. He possesses a sense of morality and ethical judgment that enables him to navigate topics such as faith, intolerance, and depression. Schulz enjoyed the adaptability of his character, remarking he can be “very smart” as well as “dumb”.[71] He has a tendency of expressing lofty or pompous ideas that are quickly rebuked.[66] He finds psychological security from thumb sucking and holding a blanket for comfort. The idea of his “security blanket” originated from Schulz’s own observation of his first three children, who carried around blankets. Schulz described Linus’s blanket as “probably the single best thing that I ever thought of”. He was proud of its versatility for visual humor in the strip, and with how the phrase “security blanket” entered the dictionary.[72][73] Peppermint Patty and MarcieMain articles: Peppermint Patty and Marcie Peppermint Patty and Marcie are two girls who are friends. They attend a different school than Charlie Brown, on the other side of town, and so represent a slightly different social circle from the other characters.[74] Peppermint Patty is a tomboy who is forthright and loyal and has what Schulz described as a “devastating singleness of purpose”.[75] She frequently misunderstands things, to the extent that her confusion serves as the premise of many individual strips and stories; in one story she prepares for a “skating” competition, only to learn with disastrous results that it is for roller skating and not ice skating.[76] She struggles at school and with her homework and often falls asleep in school. The wife of Charles Schulz, Jean Schulz, suggested that this is the consequence of how Peppermint Patty’s single father works late; she stays awake at night waiting for him. In general, Charles Schulz imagined that some of her problems were from having an absent mother.[77] Marcie is bookish and a good student.[74] Schulz described her as relatively perceptive compared to other characters, stating that “she sees the truth in things”[75] (although she perpetually addresses Peppermint Patty as “sir”). The writer Laura Bradley identified her role as “the unassuming one with sage-like insights”.[78] Supporting charactersMain article: List of Peanuts characters In addition to the core cast, other characters appeared regularly for a majority of the strip’s duration: Sally Brown is the younger sister of Charlie Brown. She has a habit of fracturing the English language to comical effect.[79] She reacts negatively to school and homework due to dealing with dogmatic memorization and obeying ambiguous instructions. She otherwise confidently delivers speeches in oral exams, using wordplay and puns while framing her topics with theatrics and suspense.[80]Schroeder is a boy who is fanatic about Beethoven. In this relatively innocent role, he serves as an outlet for the expressions of other characters.[81] He most recognizably appears in the strip playing music on his toy piano,[82][83] as the catcher on Charlie Brown’s baseball team and the romantic foil to Lucy’s unrequited affections.Pig-Pen is a boy who is physically dirty, normally appearing with a cloud of dust surrounding him. Schulz acknowledged that the scope of his role is limited, but he continued to make appearances because of his popularity with readers.[84]Franklin is an African American boy who first appeared at the suggestion of a reader following the assassination of Martin Luther King Jr. Since it was Schulz’s intention to achieve this without being patronizing, he is a relatively normal character who mainly reacts to the oddness of other characters.[27]Woodstock is a bird and Snoopy’s friend. He entirely communicates through peeps, forcing readers to guess what he says.[85] Schulz said that Woodstock is aware that he is small and inconsequential, a role that serves as lighthearted existential commentary on coping with the much larger world.[86]Spike is Snoopy’s brother who lives alone in the California desert.[87] Several early characters faded out of prominence during the strip’s run. For example Shermy, Patty and Violet were core characters during the initial years of the strip.[88][89][90] By 1956, Patty and Violet’s roles were described only as an extension to Lucy’s, and Shermy, who was initially Charlie Brown’s closest friend, was then described merely as “an extra little boy”.[72] In 1954, Schulz attempted to introduce Charlotte Braun, who was essentially a female version of Charlie Brown but with an excessively loud voice; poor reaction to her humorless personality led to Schulz “killing her off” in a tongue-in-cheek letter to a fan in 1955.[91] Similarly Frieda, a girl with “naturally curly hair”, was introduced in 1962, but was already being phased out by the late 1960s after her comic value had seemed to have rapidly run its course; and after 1975, she made only background appearances.[10] Conversely, Rerun, the youngest brother of Linus and Lucy, had only limited visibility after his introduction in 1973, but became a foreground character by the middle of the 1990s.[92]

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