Guest Post: 'A Charlie Brown Christmas' and the Triumph of Common Sense

by Annie Holmquist

December 9th marks the anniversary of the Christmas TV special which basically birthed all others: “A Charlie Brown Christmas.”

Most Americans know the plot well. The despondent Charlie Brown who just can’t work up his Christmas cheer amidst crass commercialism. The confident and obnoxious Lucy, who finds the allegedly perfect solution to Charlie Brown’s gloom. The ill-fated Christmas pageant, which confirms Charlie Brown’s status as a loser. And finally, the rebirth of Christmas cheer that comes through Linus’ recitation of the original Christmas story.

But while the basic story is a charming tale with which many of us can empathize, I find the backstory of “A Charlie Brown Christmas” almost more so.

The Backstory 
For those unfamiliar with the tale, “A Charlie Brown Christmas” went from conception to classic in a manner of months, something that simply doesn’t happen in the world of television production.

But what few people know is that before the special aired on television, Peanuts creator Charles Schulz and his crew believed their Christmas special was following in the footsteps of Charlie Brown himself and was doomed to be a failure.

Just like in Charlie Brown’s Christmas story, those who had commissioned Schulz and his crew to do the show were quick to pile on and express their disappointment with the television product. Mark Evanier, an animator and historian, explains this disappointment in “A Christmas Miracle: The Making of a Charlie Brown Christmas”:

The networks were against it. It went against the conventional thinking at the time of what a children’s special – a Christmas special – had to be.”

Fred Silverman, a CBS executive at the time explains:

There was (sic) specific, negative comments about the music, you know, the piano music. Some of the voicing, which sounded kind of amateurish – and indeed it was amateurish because a lot of them were kid actors. But it was a commitment and the film was made.”

Producer Lee Mendelson continues the story:

They said, ‘Well, it’s on the TV Guide logs, we’ve got to put it on the air, but nice try, you know, we’ll put it on once and that will be it.’ So we figured it was over and it was done.”

A Timeless Classic
But as we now know, Schulz, his crew, and the executives from CBS were dead wrong. The program became an overnight hit, pulling in almost half of the TV ratings for the evening. The show went on to win both an Emmy and a Peabody award and has been broadcast every Christmas since that memorable one in 1965.

The reason I find the backstory behind “A Charlie Brown Christmas” so fascinating is because of how it highlights the great disconnect between the ordinary, average American and those in life who pull the strings.

Charles Schulz is the epitome of the average American. He had a simple, common sense, yet often forgotten message to tell in “A Charlie Brown Christmas.” He insisted on sticking with that message and that simplistic style, even when it looked like it wouldn’t get off the ground. In other words, he was a man who stuck to his principles and wouldn’t compromise them even when they might land him in hot water.

The bigwigs at CBS, however, thought they knew better, and if time hadn’t constrained them, they likely would have attempted to rewrite Schulz’s simple, common sense production for something flashy and more politically correct. They were, in a sense, the precursor of today's marketing elites, who all seem to know what is best for middle America to digest and swallow.

In the current culture of chaos, it’s easy to throw up our hands and give in to the demands of those who stand out and seemingly call the shots. But instead of giving in to political correctness, do we need to take a page from Charles Schulz’ book? In the end, will gentle persistence, common sense, and faithful adherence to solid principles be the pathway to success and fulfillment?

Reprinted from Intellectual Takeout.

Annie Holmquist is a research associate with Intellectual Takeout. In her role, she writes for the blog, conducts a variety of research for the organization's websites and social media pages, and assists with development projects. She particularly loves digging into the historical aspects of America's educational structure.

This article was originally published on FEE.org. Read the original article.

From the Archives: 'Cable Competition' (1991)

With all the talk about net neutrality these days, I was reminded of this letter to the editor from me published in the Chicago Tribune on September 11, 1991, about cable television monopolies:

Cable Competition
September 11, 1991|By Richard E. Sincere Jr.

ARLINGTON, VA. — Should cable TV monopolies be ended and competition take their place?

This seemed to be the question professor Tas Papathanasis asked in an Op-Ed article on Aug. 26 ("Inject competition into cable TV"). Unfortunately, Mr. Papathanasis does not deliver what he promises.

There is no reason, technical or economic, why cable TV companies cannot compete head-to-head in the same local market. Yet Mr. Papathanasis proposes a timid solution to the current problem of cable monopolies-make companies compete periodically for exclusive contracts to serve localities. In reality, this is no different than the current situation in most markets.

In those places where companies are allowed to compete in every sense of the word-Allentown, Pa., is one notable example-the price of basic cable service is kept low and consumers have more choices regarding the channels they receive and the services companies make available.

A temporary monopoly such as that proposed is still a monopoly; we consumers remain the losers. Once local governments allow competition among currently available services and once the federal government allows telephone companies to enter the cable TV business, consumers will be the big winners.

A Look Back at the Making of the First 'Peter Pan' Movie (1924)

With the much-hyped television broadcast of Peter Pan Live!, starring Allison Williams, Minnie Driver, and Christopher Walken, coming up on Thursday, December 4, on NBC, it seems worthwhile to look back on other versions of the classic J.M. Barrie work.  (On Twitter, the show is being promoted as #PeterPanLive.)  This production is a follow-up to last December's virally successful The Sound of Music Live! The cast also includes Broadway veterans Christian Borle and Kelli O'Hara and (relative) newcomers Taylor Louderman, Jake Lucas, and John Allyn as the Darling family.

I have seen Sandy Duncan on stage as Peter Pan and Mary Martin on TV, as well as the 1953 Disney animated production with Bobby Driscoll voicing Peter.  I missed Mia Farrow and Cathy Rigby in the role but, for my money, Jeremy Sumpter was the most heatedly erotic Peter in the movies, but most audiences are not looking for that particular quality in what is usually intended as a children's story.

The first movie presentation of Peter Pan was released in 1924 by Paramount.  It was produced by Adolph Zukor and directed by Herbert Brenon.  Sir James M. Barrie was involved in the project and approved of the casting although -- as the anecdotes recounted below note -- his original screenplay was set aside for one credited to Willis Goldbeck.  The film was shot by renowned cinematographer James Wong Howe.

In 2007,  screenwriter Stewart Stern (Oscar-nominated for Rebel Without a Cause and an Emmy winner for Sybil) appeared at the Virginia Film Festival, where in addition to a shot-by-shot workshop of Rebel Without a Cause he offered opening remarks at a screening of the 1924 Peter Pan.

Stern, then 85 years old, recalls the casting process that resulted in the choice of Betty Bronson as the first screen Peter but he also describes his own experiences in seeing Eva Le Gallienne and Elsa Lanchester on stage as Peter, and the personal touches he received not just from those actresses but also from J.M. Barrie himself.

Here is video of screenwriter Stewart Stern, speaking at the Paramount Theater in downtown Charlottesville on November 3, 2007.  Part I offers some anecdotes about Barrie and the first stage production of Peter Pan and the casting of Bronson in the title role.  (Partial transcript follows the video clip.)

Stewart Stern on Peter Pan - Part I

It always begins with a writer. Sir James Matthew Barrie, who wrote Peter Pan, was a very small Scotsman, barely taller than a child, with a very large head, deep melancholy eyes, a mustache to cover his shyness, and a pipe that made everyone cough.

He rarely smiled but he could wiggle his ears and he mainly trusted children and certain Newfoundland dogs of his acquaintance, whom he would one day roll up into Nana. There were those five little boys in Kensington Gardens whom he fell in love with, and the Davies boys, whom he wisely treated as his superiors, and grew so close to, that in a way he stole them, even as Peter Pan stole the Darling children, and they made up Peter's story together.

It was born as a game they played at Barrie's country house, and it just kept making itself up as he and his boys played it – sometimes this way, sometimes that way – and that's how Barrie put it on the stage and that's why it always keeps changing. That's the character of Peter, too: he won't stand still, never remembers what he did last, and he's always finding new adventures to hide his loneliness inside.

During rehearsals, Barrie would sit huddled in the dark of the Duke of York's Theatre in London, his great coat and bowler hat, watching the children with envy as they practiced flying around the stage, until one days someone asked him what the matter was. He said, “I would very much like to fly, too!”

So, they hoisted him up in the magical arrangement that helps you do it, and flew him around the stage in absolute ecstasy, bowler hat, pipe, greatcoat and all, twinkling like a firefly, until they finally sat him down.

Barrie's favorite critic on opening night was a little boy whom he'd taken to the theatre. And he asked him, what part of it did you like best, when the final curtain came down. And the little boy said, “Oh, the part I liked best was tearing up my program into little bits and throwing them down on the people!” And of all the reviews his play received, Barrie liked that one the most.

In about 1920, my uncle, Adolph Zukor, who started Paramount Pictures, decided to make the first movie of Peter Pan. He had to find the perfect Peter to please Mr. Barrie, so a nationwide search began all across America.

Betty Bronson as Peter Pan

Countless screen tests were made and the best ones were taken to London on an ocean liner by the movie's director, Mr. Herbert Brenon, and by another uncle of mine, Mr. Albert Kaufman, who was Uncle Adolph's studio manager. These men would show the tests to Barrie for him to choose his favorite, and among the candidates was a tiny, 17-year-old girl from New Jersey who had come to Hollywood to break into movies and who called herself Betty Bronson. She banged on every door at Paramount Studios until Mr. Brenon agreed to see her, and she told him that she was born to play Peter, she had to pay Peter, she would play Peter, and so Mr. Brenon had no choice but to make a test.

In the London screening room, the two Americans unreeled those tests for Barrie, day after day, and to break up a long afternoon, Barrie invited them to his flat, overlooking the River Thames, for tea.

They were awed to be at the home of such a famous man, a man great enough to be knighted by the king. Barrie left his guests in the big inglenook by the fire, where he wrote, to go and see about the tea. But while they waited in their straight-back chairs, saying very little, for the whistle at the kettle to come from the kitchen, there was such a long, alarming silence, that they went exploring through the flat, and they finally found Barrie frozen at the kitchen door with his shoes in his hands and his face a mask of terrible guilt. “It's housekeeper's day off,” Barrie said, “and I'm not allowed in the kitchen. Mrs. Porter absolutely forbids me to set foot in it.”

Uncle Al said, “Well, I'll go in. I'll make the tea.”

But Barrie said, “No, no, no, no. She'll be able to tell. She puts things around I have to move out of the way and that gives her hints.”

So that was it for tea.

The very next day, a telegram reached Uncle Adolph's desk in New York. It was from London. “Betty Bronson chosen to play the role of Peter Pan. Signed, Barrie.”

In part two of the video from the Virginia Film Festival, Stern describes the magic of Eva Le Gallienne as Peter Pan (in a production she also directed), and the fright that Elsa Lanchester brought to the role. He describes his own two degrees of separation from Sir James Barrie and his particular attachment to thimbles. (Partial transcript follows the video.)

Stewart Stern on Peter Pan - Part II

The film was a huge success and many of the effects in it – the great broom sweeping the fairies away, Captain Hook's Jolly Roger rising up off the mermaids' lagoon and flying the children home – were all Barrie's own ideas for the movie version, special effects way before their time. And it's a wonderful script to read. It's a complete screenplay and filled with fancy but they decided, no, they wouldn't use it – just this and that of it. And so the movie has a more theatrical look than what might have happened if Barrie had had his screenplay used.

Like all very old children who never grew up – this isn't a hook, by the way, it's to do Charlie Chaplin imitations and it's also a reminder that I'm 85, so I'm only half young – anyway, I have loved Peter Pan my whole life. My first Peter Pan when I was little was the great Eva Le Gallienne. She gave special children matinees at the old Civic Repertory Theatre in New York at 11 o'clock Saturday mornings, and then she went on in the rest of the day to play grown-up roles in the afternoon and evening, in plays like Camille, Romeo & Juliet, and Ibsen's Ghosts, and the next morning she was back being Peter Pan.

But they weren't half as exciting as Peter Pan, those other plays, those grown-up plays. So Saturday after Saturday, my mother moved us up to the cheaper and cheaper seats, up to the tip-tip-top of the theatre, where the poorest children sat on benches that only cost 50 cents.

Sitting on those hard seats, miles above the people, we had the best thrill of anyone in the theatre because at the end, Peter Pan flew, not just over the audience way down there but above the balconies that were below us – there were two that were below us, and then the audience down there – but all the way up here, she touched our hands as we leaned out over the railing and shouted good-bye as she flew past us and then zoomed down to the stage. It was the most thrilling thing I've ever seen in my life and it still stays with me.

Stewart Stern in Charlottesville, Nov. 3, 2007

All children who saw Peter Pan wanted to fly. Until I was ten, I dreamed of flying out my window so many times that one morning I found my bare footprints in the snow on my window sill facing out over New York City, eight floors up. The next my dad had metal guards attached to the window. I could never fly again.

I pleaded with my mom to make me a Peter Pan costume and I wore it everywhere except to school. I'd come home, climb onto my book case in my Peter Pan suit, doing my homework with Peter's rubber dagger stuck in my teeth in case Hook came into the room.

And one day, on Uncle Adolph's golf course, I was up in my usual tree, dressed as Peter and tootling on my pipes, when my father came along with a man I didn't know who had an English accent and wore knickerbockers. When he heard my tootling, as he was about to hit the ball, he said, “Good lord! That's the 'Pirate Song' from Peter Pan. What's it doing in that tree?”

My dad said, “It's just Peter, otherwise known as my son.”

The man peered through the leaves until he found me, and we stared at each other for one long meaningful moment, and I won.

He said, “By George, it is Peter Pan, the real one! Bicarbonate of soda, it is!”

That man with the accent turned out to be Sir William Wiseman, a friend of Barrie's, and a few weeks later a package came in the mail from London, a first edition of Peter Pan and Wendy autographed “To Stewart Stern, kind regards, from J.M. Barrie.”

I wished he had sent me a thimble in it, that silver thing you wear on your finger when you sew a button on, that Peter called a kiss.

My letters from Eva Le Gallienne all had thimbles in them. She'd write, “Bless you, my dear, I send you a very nice thimble.” And my letter from Betty Bronson had thimbles in it, too.

But not Elsa Lanchester's, who came down her flying wire like a black widow spider after its prey and acted the whole part – and she told me this – pretending to be Hitler at the age of 6. Children shook when she came on and they rushed to Captain Hook to comfort them – and Captain Hook was Charles Laughton, her husband.

Stewart Stern is still alive at the age of 92. No doubt, if he watches Peter Pan Live! next Thursday, his TV viewing experience will be warmed by his childhood memories of Peter Pan and the actresses who played him.

Who Are the Top 10 Charlottesville News Media Personalities on Twitter?

Taking a cue from FishbowlDC, which this week ranked the top ten Washington, D.C.-based anchors for national news shows based on their number of Twitter followers, I became curious about how Twitter is used by broadcast personalities in the Charlottesville media market.

Looking at the on-air talent listed on the web sites for WVIR-TV NBC29, the Charlottesville Newsplex (CBS19, WAHU-TV27, WVAW-TV16), WINA-AM, and WCHV-AM&FM, and then looking for Twitter handles for each of those listed, I made a few surprising discoveries.

First, the vast majority of broadcast media reporters and anchors have very few Twitter followers. Only a relative handful have more than 300 and most have fewer than 200 followers -- and some are in the single digits.

Second, the Newsplex seems to be making the greatest effort to leverage social media -- or at least Twitter -- by making it easy for someone looking at the Newsplex web site to locate and follow talent on Twitter. Every nember of the Newsplex's on-air maintains a personal Twitter account, although Bradley Ussery's is designated as @CBS19Weather. With 2,418 followers, this is the top Twitter account among those I found, but since it is not a personal account, I do not include it in the top ten.

Third, WINA-AM seems to make virtually no effort at promoting itself and its programs on Twitter. I could not find accounts for WINA Morning News hosts Jane Foy and Rick Daniels, and noontime host Rob Schilling and afternoon host Les Sinclair have only 173 and 243 followers, respectively.

Fourth, although NBC29 seems not to be making as concerted an effort at Twitter engagement as its rival the Newsplex, its individual talent are not doing so badly under the circumstances. Reporter Henry Graff is ranked second while his colleague Matt Talhelm just missed the cut, coming in 12th according to my research.

Only one radio personality, Coy Barefoot of WCHV-FM, made the top ten list, but he also has a Sunday morning TV program on CBS19, which could possibly boost his following.

I did not include print media in this study, which now would include just The Daily Progress and C-VILLE, so the available sample of Twitter accounts may not be satisfying.

Here is the list of Charlottesville's top ten broadcast media personalities on Twitter:

1) Travis Koshko (Newsplex) / @TravisKoshko / 2,186 followers

2) Henry Graff (NBC29) / @HenryGraff / 1,529

3) Dan Schutte (Newsplex) / @schuttedan / 1,410

4) Coy Barefoot (WCHV-FM/CBS19) / @coybarefoot  / 1,289

5) Chris Stover (Newsplex) / @ChrisStover / 1,198

6) Michelle Rupp (Newsplex) /@MichelleRupp /1,000

7) Bo Sykes (Newsplex) / @bosykes / 972

8) Ed Sykes (NBC29) / @EdSykes29 / 963

9) Mary Dunleavy (NBC29) / @MaryDunleavy29 / 809

10) Evanne Armour (Newsplex) / @EvanneArmour / 802 

 I don't make any judgments about the quality of these broadcast journalists' work, other than to suggest that these ten are making a greater effort -- some with corporate support, some without -- to engage their audience through one social media platform, Twitter.

I would welcome any comments from the people listed about how they use Twitter, whether they are satisfied with the results of their experience, and whether they prefer Twitter over other social media platforms (such as Facebook, LinkedIn, or Instagram, for example) or vice versa.  What are your goals in using Twitter?

I would also be interested in hearing from those who follow these ten (or any other local media personalities).  What do you gain from following them on Twitter?  What suggestions do you have for improving their engagement with you as an audience member?  How can Twitter be better integrated with the broadcast experience? 

Leave your comments below, or Tweet them to me at @rick_sincere.