It’s been a while since I’ve been able to muster much excitement about the Christmas holiday season. Not that I think it’s unimportant historically (i.e., the birth of little baby Jesus, although it’s not the central historical event in Christian theology) or that I don’t appreciate its worldly implications (i.e., I get to go home to see my family). But the season just kind of creeps up on you and then before you know it, it’s too late to send out Christmas cards, and the stores are way too crowded with nasty Christmas shoppers for gift-buying to be anything but a chore.
Like most kids raised in America, many of my most enduring memories of the Christmas season involve the television — namely the Christmas specials: Rudolph, Frosty, Sesame Street, and Peanuts. A few years ago, I bought the A Charlie Brown Christmas DVD, and I’ve been watching it around this time every year since. It doesn’t feel like Christmas until I do.
A few factoids about that show that I hadn’t known:
Melendez was brought into direct, and as with the Ford commercial, he gave the parts of the Peanuts kids entirely to children, many of whom had never acted. Getting them to learn their roles was a trying task, given that Schulz’s script had his characters regularly waxing philosophical and tossing off words like ailurophobia (a fear of felines, for the record). Melendez had to teach the young actors long portions of the script phonetically. “Sometimes they didn’t understand a word,†he remembers. “They’d say, ‘Just tell me how you want it said.’ Then they’d say it, and I’d turn to the engineer and ask if he recorded it. The kids were all startled when they got screen credit and happily startled when they started getting royalty checks.â€
–Brian Heater, “The Lonely Tree: The Story of A Charlie Brown Christmas”, PopMatters, December 14, 2006
and,
In 1962, Guaraldi released “Jazz Impressions of Black Orpheus,” interpreting music from the 1959 Brazilian film. To fill out a short album, he wrote a tune that was packaged as the B-side of a single. (About the same time, he grew a handlebar mustache, which became his signature look.) That throwaway tune was “Cast Your Fate,” which caught on with listeners and went on to sell 500,000 copies. It reached No. 22 on the pop charts — one of the last instrumental jazz tunes to be a crossover hit — and earned Guaraldi a Grammy Award in 1963 for best original jazz composition.
–Matt Schudel, “The jazzman who captured Charlie Brown’s wistful soul”, Seattle Times, December 11, 2006




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