If, like me, you’re a diehard fan of all things Peanuts and Charlie Brown animated specials, you’ve seen the 1974’s Emmy-nominated It’s the Easter Beagle, Charlie Brown!. When my friends at Bill Melendez Studios found some great art from the special, I thought it might be time to not only feature the art but talk about the history of the cartoon. The image of Snoopy bounding through the grass doing the happy dance and offering painted eggs to all the children of the neighborhood and frolicking with bunnies runs in my head on repeat this time of year.
Of course the origins of Easter are based in the pre-Judeo-Christian pagan worship of the Anglo-Saxon Goddess Oestre. As part of a festival dedicated to the renewal we see at Springtime, eggs, which represented the dawn of Spring, were buried and eaten. As with many other traditions adapted by Christian missionaries, Oestre was celebrated as a way of encouraging conversion. In this case, eggs were symbolic of the renewal through Christ’s resurrection, and new life given through the forgiveness of original sin.
Many pagans and Christians mark the holiday with Easter traditions like egg hunts, fancy hats and dress, and family gatherings for a feast. In Catholicism, that feast means the first time many can eat and drink what they gave up for Lent, which originally included eggs, because dairy products weren’t eaten during Lent. Many give up wine and chocolate (or alcohol and sweets, if you prefer), and Easter is the first time they can indulge in these delights! In the US and Europe, that’s partly why there’s so much chocolate that has made its way into Easter celebrations.
Painted eggs have been traced back over 2500 years, when the ancient Persians painted them for Nowruz, the Persian New Year. In the 12th century, England’s King Edward I gave over 450 eggs painted with gold leaf to his relatives during the Spring season. In 17th century Germany, gifts to children and Easter egg hunts became popular. Queen Victoria popularized the tradition by having egg hunts and filling artificial eggs with candy for the children. The US got into the spirit by having its first Easter egg roll in 1878, during the presidency of Rutherford B Hayes. Interestingly, though the Easter egg roll was meant to be secular, some imbued it with the symbolism of the rock being rolled away from Jesus’ tomb, allowing followers to see he had been resurrected.
Cut to Peanuts and Charles Schulz. As is clear from A Charlie Brown Christmas, Schulz was Christian. His faith and spirituality had a big impact on his work from the beginning. As examined in Stephen J Lind’s book “A Charlie Brown Religion: Exploring the Spiritual Life and Work of Charles M. Schulz”, more than 560 of his Peanuts strip contain a spiritual, theological, or religious reference, with 40 that directly mentioned prayer. His first animated special in 1965 explored ‘the true meaning of Christmas’, with Linus famously quoting from the bible, a rarity for a primetime cartoon special. One of the beauties of the Peanuts strip and of its creator is he believed there were many paths to the sacred, including many outside the Christian faith. He also valued joy and kindness, and showed it through is characters and stories, especially those involving Snoopy and Charlie Brown. So it makes sense that in 1968, he introduced another of Snoopy’s alter egos, The Easter Beagle.
His first appearance in the strip was April 14th, 1968, but it wasn’t until April 11th, 1971 that he was called The Easter Beagle:
The strips that made up the story of the Easter Beagle is what they used to construct the 1974 cartoon, which was the 12th Peanuts animated tv special, and the 4th to commemorate a holiday. It was first broadcast on April 9th, 1974.
If you know the special, you know there’s a scene where Snoopy dances, holding the paws with a circle of bunnies. Those bunnies are based on the Snoopy’s favorite (fictional) storybook series, “The Bunny Wunnies”, written by Miss Helen Sweetstory. They were first introduced on July 26th, 1970.
Here he is in the special. No, I haven’t seen any cels of these sweeties in about 20 years, but that doesn’t stop me from loving it onscreen and continuing my search for them!
Notice in the above scene, when he approaches the Bunny Wunnies, he happily shouts, “Hey!” It is one of the only times Snoopy ever speaks in a cartoon.
One of the most joyful sequences in all of animation, here’s Snoopy delivering painted eggs as the Easter Beagle. The music that accompanies him is not by part of the score Vince Guaraldi created for the special. It is the Allegretto from Beethoven’s 7th Symphony in A Major.
We got a small and very wonderful selection of original production cels from It’s the Easter Beagle Charlie Brown to sell from the Bill Melendez Studio. You can find some of them in the above clip! If you love It’s the Easter Beagle Charlie Brown, seek out these images before they sell. You can find them all now on our site for a limited time, at a special Easter price, HERE.
All of this is to say, this time of year is a time of celebration. I’m writing this blog during the Pink Full Moon, which for pagans is a big deal, and also a time of renewal and new life. For Muslims, Ramadan has been going on since April 1st, and will continue through to May. Whether you are pagan, Christian, Jewish, Muslim, a secular humanist, or atheist that just loves Snoopy dancing with bunnies, may you find joy in your weekend safely, and perhaps even with the aid of Snoopy as the Easter Beagle in this timeless Peanuts classic cartoon.
You can watch It’s the Easter Beagle Charlie Brown on Apple TV. While you’re there, check out the new Peanuts special, just released on April 15th, created in commemoration of Earth Month and in time for Earth Day. The cartoon features a charming new song by Ben Folds, part of which you can hear Sally singing in the trailer:
There’s a ton of great Peanuts content on AppleTV+. Have you checked it out? There’s a new Snoopy show which is about to have another season, and a mocumentary on Peanuts and NASA called Snoopy in Space, and even older shows and tv specials you might not have seen. Just released is a new documentary the chronicles the life and work of Charles Schulz called Who Are You, Charlie Brown?, which is an official documentary created with the blessing of his family. Narrated by Lupita N’yong’o, it includes interviews with his wife Jean Schulz, as well as famous folks inspired by the comic strip and subsequent animated specials and shows like graphic artist and author of “Only What’s Necessary: Charles M. Schulz and the Art of Peanuts” Chip Kidd, directors Paul Feig and Kevin Smith, and tennis legend Billie Jean King.
The documentary has a score by composer Jeff Morrow, who has worked on all the new Peanuts shows and specials on AppleTV+. It’s quite an honor to have been selected to follow in the footsteps of the great Vince Guaraldi, who created the wonderful, iconic music for A Charlie Brown Christmas, among many other Peanuts scores.
Guaraldi grew up inspired by his uncles, who both headed jazz big bands in San Francisco. Early in his career, he worked with famed vibraphonist Cal Tjader before going out on his own, releasing music that would have kept him in obscurity had a DJ not played a B-side with Cast Your Fates to the Wind on it, which garnered him a Grammy Award. Peanuts producer Lee Mendelson heard Cast Your Fate while driving across the Golden Gate Bridge, and sought out Guaraldi to compose for a documentary on Peanuts called A Boy Named Charlie Brown in 1963. It was the start of a long career composing for Peanuts specials. Guaraldi’s music for A Charlie Brown Christmas in 1965, which was his 8th studio album, is consistently one of the top selling Christmas albums every year to this day, and is in both the Grammy Hall of Fame and the National Recording Registry. His last recording for a Peanuts special was for 1976’s It’s Arbor Day, Charlie Brown. Only several hours after finishing the recording, Guaraldi died suddenly of a heart attack just moments after leaving the stage of a live performance..
Following Guaraldi, composer Judy Munsen stepped in, working alongside Ed Bogas to create music for specials like What a Nightmare, Charlie Brown!, Bon Voyage, Charlie Brown, and It’s Magic, Charlie Brown. In 2000, jazz pianist and producer David Benoit released the memorial album Here’s to You, Charlie Brown, in recognition of Charles Schulz’s passing. He was involved variously in recording interpretations of Guaraldi Peanuts songs and creating music for specials. Benoit also played piano for the recent The Peanuts Movie, on a score with a mix of music by Guaraldi, and new compositions for orchestra created by Canadian composer Christophe Beck. That’s where Jeff Morrow comes in.
Morrow had been working with fellow Canadian, Emmy and Annie Award Christophe Beck, when Beck began work on The Peanuts Movie. It was through his mentorship with Beck that Morrow got the gig as the new composer for all things Peanuts. I spoke to Morrow about what inspired him to become a composer (animation fans will love knowing it involves The Lion King), how the self-ascribed music geek got into the business, and why Peanuts characters are all the inspiration he needs to create music that fits right into the discography for the iconic property.
ArtInsights:You have said you’ve always been really into film music. What scores were or are the favorites that influenced you?
Jeff Morrow: When I was really young the one that I feel like hooked me was The Lion King, by Hans Zimmer.The music is high emotion. Very dramatic. It was the first time I remember really noticing music in a film. I was nine years old. At that point in my life I was very nerdy and into classical music. I think when I was in third grade I said my favorite music was Mozart. You know that the score for The Lion King actually gets quite classical times, in the part where his father dies especially. It could be Mozart, it’s very much in that sort of vein of music.
Then as I got older, I got really into the more classic stuff for a while, like Bernard Herrmann’s North by Northwest.
The way I got into film music was, I didn’t actually grow up thinking I wanted to be a film composer, because I grew up in Toronto. I didn’t know anyone who was a film composer, so I didn’t really think of it as a thing I could do, until until much later after I had a bit of a career going as a professional musician. Being a composer, it helps that I’m just very much into all kinds of music. I was definitely, for one period of my life, a total jazz snob. Now I’m very omnivorous in what music I listen to.There’s a Duke Ellington quote where he says, “there’s only two kinds of music, good music and bad music.”
Tell me how you got involved in scoring for Peanuts in the first place, which was on The Peanuts Movie working with Christophe Beck.
I had a sort of career going in Canada, scoring kid TV shows and some TV commercials and little low budget films, short films, and features. And then, through this program at the Canadian Film Center, I met Chris down here in LA, in a meeting. We sort of hit it off and and I kept in touch with one of his assistants. Two years later I got an email saying, ‘Hey, Jeff, remember me? We need help. Do you live in LA?’ And I said, ‘No, but I can live in LA. Just give me two weeks.’ And, yeah, two weeks later, I was down here in LA. I was making coffee for Christophe for a couple of weeks, and then he asked me to write something, and he must have liked it, because from at that point on, I was co-writing with him, and ended up getting to write a bit of music for The Peanuts Movie, which was amazing. It was recorded at the Fox stage here in LA, with the 80 piece orchestra.
So how did you connect with Apple for the new Peanuts projects?
Wildbrain and Apple, this is now a number of years later, were getting together to produce all of this new peanuts content, and through Chris I was recommended for for the job. That’s basically how it happened. They asked me to demo. I got together 3 of my now-favorite musicians, but people I just met, into an incredible jazz trio, Ryan Shaw, Jordan Siegel, and Trey Henry. We got together in the studio old school, with everyone of the same room like they used to do, not all of us sectioned off in booths. Apple and Wildbrain loved the demo, and I got the job. So the first thing I did was this little mockumentary for NASA. Jeff Goldblum and Ron Howard were in it. So I thought that was it was kind of a fun way to start. Also, given that Vince Guaraldi actually started scoring Peanuts with a documentary, it seemed like perfect symmetry.
The way that you connected with Christophe Beck and stayed in touch, is that sort of similar to the way you packaged your little demo and took it to Eggplant Productions in Canada? That shows some pretty impressive determination.
Yeah, a little bit, I guess. I feel, of course, very privileged to grow up with supportive parents who encouraged me to do that kind of thing, and whatever cultural norms that suggest that I should be doing that, because I know not everyone has that sort of opportunity to get out there and be connected with some of these people. I just put together a jazz CD of my weird trombone music, googled “music production, Toronto”, and then dropped it off at a few places. The local newspaper in Canada actually did like a little piece on me getting a job there called “Cold Calls Lead to Hot Jobs”.
The first thing you must have been thinking about for Who are you, Charlie Brown? was how to work with a very famous existing music. Also, here you are creating music the story of Charles Schulz, that’s a big deal. What was your strategy from the beginning?
I knew I wanted to sort of pay homage to the sound of The Peanuts cartoons. I kind of the thought was if it was on in the other room, you would recognize it as being in the same world as what you’ve heard. The music Guiraldi wrote for the original stuff was written for kids. I don’t mean viewers, I mean, it’s written for the characters. This documentary is a story about a real life of an adult human. So it needed definitely a slightly different approach. The starting point was the instrumentation, with piano, bass and drums, but then expanded on that to include cello, flute, and clarinet, then vibes.
A number of cues start with solo bass, which is great.
Using bass is a good way to get in under people’s voices. It’s a very supportive sound. If someone’s talking and the bass comes in, you can get into a piece of music without it really announcing itself so much.
There’s definitely inspiration to be found in Guaraldi’s work.
Exactly. It’s not like Vince Guaraldi came up with this stuff in a vacuum. The reason the music sounds like it does is that he wrote it based on the characters. They’re simple kids, but there’s a profoundness to most of them. If I sat there at the piano trying to come up with the next Peanuts Guaraldi theme, it would be too much pressure. So I was mostly thinking about their characters, like Charlie Brown and Linus, and about how serious or philosophical they are. In terms of Schulz himself, he’s just such an empathetic guy, which is why his characters have so much depth to them. It becomes clear in the documentary that when he’s in the room with someone, he’s fully understanding them and picking up on characteristics from them. He’s clearly a person who notices people and takes it all in. I was just thinking about that and what, musically, could represent that?
With your jazz trio, was there a lot of improvisation on the way to creating the cues?
Always. It’s one of the great joys of working on this whole Peanuts world is working with these amazing musicians, just to let them loose on on some of the stuff. These days, working on a film, usually your computer demo is very accurate to what the final is going to be. I had to have a pact with the directors and producers the beginning. In order to get that indescribable vibe you can get from musicians in a room improvising together, it’s gonna be slightly different than what the computer demo sounds like. Thankfully, everyone’s been really receptive of that. It’s such an amazing thing to write a framework for the musicians in some of these cases, and then just watch them bring it to life. As composer, there’s this sort of knob that I turn towards improvisation and then back towards the more compositional throughout, to track the story.
You’ve said all your scores have a concept behind them. What was the concept behind Who Are You, Charlie Brown?
Well, I find especially with documentaries it’s nice to box yourself into a certain set of parameters. I find you end up with something much more interesting. It’s definitely more of a challenge for me, but that’s where it gets fun. So in the case I knew I wanted it to be this small ensemble score, and I want to be able to accomplish every emotion or feeling required within that instrumentation. The piano bass, drums, vibes, cello, flute, and clarinet, that was my limiting factor, basically. It was essentially my imagining The Peanuts band got together, invited a couple of friends, and then had to score a documentary, but those were the only tools they had. No symphony orchestra or synthesizers.
You’ve worked with Henry Jackman and Christophe Beck. What did you learn from them that you’ve taken with you and has informed your work?
What I discovered working with people like Chris and Henry, who have done this for a long time, and been very successful, is that when they get a note from a director, or producer, editor, or assistant producer, they really take it to heart. It’s actually quite impressive. If they just spent the last week working on this couple of minutes of giant symphonic music, and then someone says, ‘I don’t think that’s really working’, they have no ego about it, which is a skill that I feel requires a rewiring of your brain. You can’t just wake up one morning and be totally cool with any kind of changes people want to make to your music. It’s a skill that has to be developed over time. With them, that’s one of hundreds of different things, but as an example that’s something I learned from them. What it allows for in the creative process if that’s your perspective, going into a project, is that it’s really a collaboration.
What was your understanding or experience with Peanuts before you started composing for the property? Did you listen to the Christmas music growing up?
Of course, I listened to it every Christmas growing up, and, you know, became a jazz musician. So there’s definitely something there that inspired me in my life. That music is up there with Miles Davis Kind of Blue. It’s certainly as or maybe even more famous.
How has your perspective on the characters changed since you’ve been working on the Peanuts scores?
It’s just such a thrill and a privilege to be able to work in this world with these characters. To get to write music for them is means I get to dive into their personalities a little more. I just feel like I have a much deeper understanding of where they’re all coming from, and have empathy for them. I might have found Lucy a bit annoying as a kid. I don’t feel that way now.
Who is your favorite character?
Well I would have said Schroeder, because he’s a musician and plays piano like I did when I was a kid. I was a little bit of a Schroeder at some point as a kid, a bit snobby about music. I’m much more in the Linus camp now. I love his soliloquies and his general philosophy.
I love Franklin, and in the documentary you really learn about the impact he had on pop culture and on Black Americans who saw themselves on tv and in the comic strip.
I learned about that from watching the documentary when I was working on the score. Speaking to Schultz’s empathy, to present just a kid with no fanfare when he was introduced, which is, I think, a beautiful thing, and then he gave him huge both a humility and a realness that just placed him in the scene without fanfare but just smart, good friend. I spent a lot of time on the piece of music that goes with that segment of the documentary. , It’s a very important moment. These characters so compelling that if I’m tracking what they’re doing, and their emotions, and how they are onscreen, then it makes the job enjoyable. There’s always hair being pulled out, but it’s very enjoyable.
Are you working on anything right now?
I’m actually working on more Peanuts music, because there’s a lot more great stuff coming to AppleTV+. You and your readers will have to stay tuned because you’re going to love it!
You can watch Who are You, Charlie Brown?now on AppleTV+. The score by Jeff Morrow for Snoopy in Space is available now on Apple Music, with the score for Who are You, Charlie Brown? coming soon.
As part of our 40th anniversary show for It’s Magic, Charlie Brown, we are giving original drawings by Larry Leichliter that are hand-dedicated by the artist with purchases of any Peanuts art. Pick well.. it’s one drawing per family, not per piece of art purchased!
Order now, and you can choose one of these three drawings:
Snoopy and Woodstock Happy Dance:
Charlie Brown and Snoopy: Suppertime
Snoopy and Lucy: Dog Kisses
This awesome Peanuts art be hand-drawn with or without a dedication (as you prefer) by Larry Leichliter.
You might think about getting the new limited edition just released for the 40th anniversary of It’s Magic, Charlie Brown. MAGICIANS TAKE NOTE!
Leichliter’s career in animation began in 1974 when he worked on BE MY VALENTINE, CHARLIE BROWN. This was followed by numerous other Peanuts specials that he was a crew member of throughout the late 1970s and 1980s. Since then, he has worked on many animated television series, particularly those made for Nickelodeon, which includeHey Arnold!, ChalkZone, The Fairly OddParents, CatDog, SpongeBob SquarePants, The Mighty B!, and Catscratch. Leichliter more recently was a director for the Cartoon Network original series Adventure Time, for which he directed 114 episodes and the original short. Adventure Time also garnered him three Primetime Emmy Award nominations in the category “Outstanding Short-Format Animated Program” in 2010, 2011, and 2012. He is now retired and creating limited edition designs for Sopwith Productions. You can read about Larry HERE.
As sometimes happens, there’s been a surprise release by the folks at the studio that produces all the Charlie Brown cartoon specials. Even though it precedes Halloween, it’s a celebration of the fan favorite and ultimate mood stabilizer, A Charlie Brown Christmas. Called “Let it Whip, Snoopy”, it captures the opening sequence of the wonderful winter skating scene, and comes with a great storyboard giclee created and signed by Charlie Brown animated specials director and animator Larry Leichliter. Here is the limited edition set:
Here is the trailer for the cartoon, which shows a tiny snippet of the sequence used for the limited edition… (although, let’s be honest, we ALL remember the scene, right?)
In honor of the release of “Crack the Whip, Snoopy!” release, let’s talk a bit about A Charlie Brown Christmas.
First off, of course there would be no Peanuts animated specials at all without Lee Mendelson and Bill Melendez. Lee Mendelson was the executive producer of many Peanuts specials, but he started out his association with all things Peanuts by approaching Charles Schulz about making a documentary about him and his Peanuts comic strip. He had just done a doc on Willie Mays called A Man Named Mays:
Charles Schulz, or ‘Sparky’, as his friends called him, had watched and enjoyed it, so they collaborated on the documentary A Boy Named Charlie Brown in 1963. Meanwhile, Coca-Cola approached Mendelson about producing an animated Christmas special for tv, and he immediately called Sparky about creating something featuring the Peanuts characters. Schulz suggested using Bill Melendez, who had worked with Sparky creating some Peanuts Ford Motor Company commercials. Networks weren’t interested in the special.
Then, in April of 1965, the Peanuts characters graced the cover of Time magazine, which increased interest in an animated special, and the clock started ticking. Mendelson and Schulz created an outline for a special in less than a day.
They created the first and most classic cartoon in only 6 months, with the script having been whipped together in only a few weeks. and it aired on December 9th, 1965. Schulz built the idea around ‘the meaning of Christmas’, interspersed with scenes of skating, something he did as a child. He also included a substantive scene in which a bible verse is quoted, and though there were a few specials that specifically mentioned Christianity, this was the first animated cartoon to incorporate religion in its plot and structure.
It won both an Emmy and Peabody Award. It got both high ratings and critical acclaim. Lee Mendelson actually wrote the lyrics to the Christmas classic ‘Christmastime is Here’ in only minutes.
It is so fitting that Mendelson wrote such an enduring Christmas classic, as, in a bittersweet endnote, Lee just died on Christmas Day of 2019. I interviewed him about his work a few years ago, and you can watch him talk about all this himself (and watch me all excited talking to him!):
The cartoon was anything but ordinary. They did a lot of ‘outside the box’ decisions as part of it, like hiring voice actors that were children, having no laugh track (Schulz’s idea), and using jazz as the soundtrack. It seems to all make sense now, since we’ve seen it so many times (it has played every year at Christmas since 1965) but at the time everyone thought it would fail miserably.
I talked to Bill Melendez’s son Steve about working on the Christmas special, and he relates how he came up with the scene with Linus sharing the message of Christmas onstage.
Since Larry Leichliter is responsible for the design of the new limited edition as well as the storyboard that accompanies it, I asked him about his love of the Christmas special, and about creating the storyboard.
What makes “A Charlie Brown Christmas” special to you?
Larry: “First of all It’s a Christmas cartoon. Not that I love every Christmas cartoon, but it’s Peanuts, and I’ve always loved Peanuts. What makes it special and have such longevity is not the nostalgia of remembering being a kid and watching this show for the first time, although that’s a wonderful memory. I think for all of us, It’s a story that forever rings true.
I love watching Charlie Brown wrestle with his problem, with the help of his friend Linus. His encounters with the realities of the world and its insensitivity to his plight are tragic and funny and he makes me root for him every time. Then there is Linus, who sticks by him like a true friend. He ultimately always shows him the way to his answer and a release from his problem.”
Who is your favorite character in Peanuts?
“Linus has always been my favorite Peanuts character. The combination of his vulnerability (he is a thumb-sucking, blanket-hugging child, after all) and his knowledge and philosophical beyond-his-years personality is irresistible. He is Charlie Brown’s truest friend. Even Snoopy isn’t as loyal.”
How did you compose the storyboard, and what do you love about creating them? it really captures a moment fans love from the cartoon.
“Thanks! I love showing some of the “behind the scenes” elements of making cartoons. In this case, I couldn’t decide right away just what moment of the skating scene would be ideal for our project, so it was suggested that I might pose out the “crack the whip” sequence in a story board. Then it was just a matter of showing the characters adding onto the chain until they all inevitably fly off. I think it captures not only the nostalgia, but also what is funny and charming about the special as a whole.”
If you want to get a sense of Larry and his great career, you can watch my discussion with him and Sandy Thome, head of art development for all things relating to Charlie Brown animated cartoons. Beyond being incredibly talented, he’s quite shy, and a lovely guy.
We have other Peanuts animation art, and of course, we can always find cels based on what you’re looking for (though, not from the Christmas special, not anymore!) check out what we have right now HERE, and contact us for special requests.