The individual members of the Peanuts gang are best known for their little “quirks”. Linus has his security blanket like a little child, yet he has the mind of a scholar. Schroeder is obsessed with his piano and Beethoven music. Sally is sweet and well meaning but tends to mess up her thoughts. Lucy is crabby, and yet melts around Schroeder. Peppermint Patty is a great athlete, and cant’ seem to figure out that Snoopy is a dog. And Charlie brown is…well, Charlie Brown.
This even extends to some of his supporting players such as Pig Pen with his traveling cloud of dust, or Frieda with her naturally curly red hair. Yet some characters don’t get as much development. In some cases they are just meant to be one off characters for a brief arc. In other cases there was just nothing that can be done about them and they were phased out like Shermie.
One however that has a fairly stationary character actually came into existence when a fan wrote to Charles Schulz and asked to create a character like him. That character is Franklin, and while he isn’t known for any of his quirks, he is well known for bringing some much needed diversity to the strip. It takes more than a casual glance at the cast of main characters, and a cursory reading of their very Germanic surnames ( Van Pelt, Schroeder, Reichhardt, and even Brown was a very common Anglicization of the German name “Braun”) that make the strip sound like the characters just came from an Oktoberfest celebration. When the creator himself was of German and Swedish ancestry it’s not too surprising. Writers write what they know, and someone of that background is going to create characters that reflect their heritage.
After all, in the special She’s A Great Skate Charlie Brown, we hear Charlie Brown wax poetic about watching a zamboni clear the ice. Aside from Canada, one of the few places that would happen in the United States, would be in suburban Minnesota amongst a largely European-American demographic. Schulz would even admits as much in a later interview saying,
“I’ve never done much with Franklin, because I don’t do race things. I’m not an expert on race, I don’t know what it’s like to grow up as a little black boy, and I don’t think you should draw things unless you really understand them, unless you’re just out to stir things up or to try to teach people different things. I’m not in this business to instruct; I’m just in it to be funny. Now and then I may instruct a few things, but I’m not out to grind a lot of axes. Let somebody else do it who’s an expert on that, not me.”
By the mid 1960s the core cast of Peanuts was well established, and then in 1968, Schulz received a letter. In the wake of the death of Dr. Martin Luther King Jr., Harriet Glickman a retired school teacher wrote to Charles Schulz and several other cartoonists, asking for positive fictional role models for their children. She wrote,
“You need no reassurances from me that Peanuts is one of the most adored, well-read, and quoted parts of our literate society…It occurred to me today that the introduction of (African-American) children into the group of Schulz characters could happen with a minimum impact. The gentleness of the kids…even Lucy, is a perfect setting. The baseball games, kite flying…yes, even the Psychiatric Service cum Lemonade Stand would accommodate the idea smoothly…Should you consider this suggestion, I hope that the result will be more than one black child…Let them be as adorable as the others,… but please…allow them a Lucy.”
Schulz was touched by her letter, but admitted in his response,
“I appreciate your suggestion about introducing [an African American] child into the comic strip, but I am faced with the same problem that other cartoonists are who wish to comply with your suggestion. We all would like very much to be able to do this, but each of us is afraid that it would look like we were patronizing our (African-American) friends….I don’t know what the solution is.”
While to some it may sound like Schulz was deflecting the issue, he brings up a very excellent point faced by many writers and artists on the issue of race. One need only look at two comic book characters Luke Cage at Marvel Comics, and Green Lantern John Stewart at DC Comics who debuted around that same time. While both were created by legends in the industry, Archie Goodwin and John Romita, Sr. drew heavily upon blaxpoitation films of the late 6-s and early 70s in creating Luke Cage. While certainly relevant at the time, this has left many of these early stories severely dated. In contrast, Denny O’Neil’s experience writing for a newspaper, allowed him to craft much more realistic dialogue for John Stewart.
There is also the chance that, despite any good intentions as the creator may possess, the character would end just being all out offensive, even by the standards of the 60s. This was something that happened to Schulz contemporary Hank Ketcham in the Dennis the Menace comic strip. Part of the appeal of Dennis is that he doesn’t quite understand the terms adults use around him, so when he repeats them, it usually leads to a comedic misunderstanding. In this case, he says that he is having “race problems’ with an African American boy named Jackson, and it was just a matter that Jackson was a faster runner than Dennis. However, between the tensions at the time, and the simple fact that the illustration depicted the boy as looking like a Black-Face performer out of a bad minstrel show. The strip was pulled and an apology rendered after protests and complaints ensued over the depiction.
On top of that, there was also the matter of dealing with censors for various newspapers. Much as Gene Roddenberry would illicit controversy by prominently depicting a Russian, an Asian, and an African woman on the USS Enterprise in Star Trek, even having Captain Kirk kiss Uhura, and even an episode of the Bing Crosby’s show would be met with controversy for including the jazz great Louie Armstrong performing alongside Bing, Frank Sintra, and Rosemary Clooney, papers in the deep south had problems with Franklin.
As he related in an interview, when he discussed problems he faced in the strip with his editors at the Syndicate that published and released his strip to the papers,
“I finally put Franklin in…Again, they didn’t like that. Another editor protested once when Franklin was sitting in the same row of school desks with Peppermint Patty, and said, “We have enough trouble here in the South without you showing the kids together in school.” But I never paid any attention to those things, and I remember telling Larry at the time about Franklin—he wanted me to change it, and we talked about it for a long while on the phone, and I finally sighed and said, “Well, Larry, let’s put it this way: Either you print it just the way I draw it or I quit. How’s that?” So that’s the way that ended.”
With all this in mind, it can be seen why Schulz would be feeling like he was starring into a loaded canon if he tried to create such a character. He had to try and strike a delicate balance between creating a character just as endearing as the rest of the cast, keep his syndicate happy by treading lightly on complex social issues, and keep readers happy by making sure the character wasn’t an offensive stereotype. Glickman was pleased to get a response and asked Schulz if she could show his letter to some of her African American friends to help give him some further advice. She did, and one friend wrote back and suggested a compromise, saying,
“With regards to your correspondence with Mrs. Glickman on the subject of including [African American} kids in the fabric of Peanuts, I’d like to express an opinion as [an African American]father of two young boys. You mention a fear of being patronizing .Though I doubt that any [African American] would view your efforts that way. I’d like to suggest that an accusation of being patronizing would be a small price to pay for the positive results that would accrue!…We have a situation in America in which racial enimity is constantly portrayed…I deliberately suggest a supernumerary role for a Negro character. The inclusion of a Negro in your occasional group scenes would quietly and unobtrusively set the stage for a principal character at a later date, should the basis for such a principal develop…We have too long used [African American]supernumaries in such unhappy situations as a movie prison scene, while excluding [African American]supernumaries in a quiet and normal scenes of people just living, loving, worrying entering a hotel, the lobby of an office building, a downtown New York City Street scene. There are insidious negative effects in these practices of the movie industry, TV industry, magazine publishing, magazine publishing and syndicated cartoons.”
Schulz receiving this encouragement, agreed to create this character, and informed Glickman that Franklin would appear in an upcoming story arc. The story began in the simplest, most Charlie Browniest of ways imaginable in late July of 1968. Charlie Brown and his family were on vacation at a beech, and Sally threw her brother’s beach ball out into the Ocean. Charlie was certain that it would float all the way to Hawaii at the rate it was going. That was when Franklin came up on the beach saying,
“Is this your beach ball?…I was swimming out there, and it floated by.”
Franklin noticed Charlie was building a sandcastle and was quick to comment on how crooked it was, to which Charlie told him that he was known for not doing anything the right way. As they worked on the sandcastle together, they learned that both of their fathers had been in the military. They bonded over baseball, and when the castle was completed, Charlie was impressed. As Franklin turned to leave, Charlie called out,
“Ask your mother if you can come over sometime and spend the night! We’ll build a sandcastle and play baseball!”
It was an innocuous story arc. Nat Gerlter notes on Franklin’s first appearance in an essay Hogan’s Alley #18, which was later featured in The Peanuts Collection,
“In some ways, this seems an aggressive bit of integration—many American public beaches, while no longer legally segregated, were still de facto segregated at the time. In other ways, the strips suggest what might be seen today as an excess of caution; of the twenty panels of the series, Franklin is in ten panels and Sally is in eight, but never is Franklin in the same panel as the white girl. Franklin would not reappear for another two and a half months, when he came for a visit to Charlie Brown’s neighborhood. He was somewhat lighter skinned here, which seems to be less a matter of trying to make him acceptable to the readers and more a matter of cutting back on shading lines which were overpowering his facial features.”
The arc raised no issues, pulled no punches, and just featured two boys bonding over shared interests as children are oft to do. We even see they had a somewhat similar background. There was no race riots, no mention of segregation. If anything, it’s the perfect realization of Dr. Martin Luther King’s dream, perhaps more so then Star Trek where the white man was clearly in authority and the black lady answered the space phones. Two children, one white, one black, treated as equals to one another.
Much to Schulz’s surprise, the character was well received and Franklin’s debut strip only garnered one nasty letter. If anything it made the strip more surprisingly progressive, as the African-American Franklin was made out to be more level headed while Charlie Brown, the white boy , and the strip’s hero, was a neurotic mess. Schulz described Franklin as,
“Franklin is thoughtful and can quote the Old Testament as effectively as Linus. In contrast with the other characters, Franklin has the fewest anxieties and obsessions”
No one treated Franklin any differently than the rest of the gang. For example, in A Charlie Brown Thanksgiving, the fact that Peppermint Patty invited an African-American kid to their make-shift Thanksgiving dinner doesn’t faze him, it’s the fact he’s in over his head again as he is expected to make a dinner for five of his friends. Later, while Linus’ experience in the Pumpkin Patch on Halloween night may take on shades of Samuel Becket’s Waiting for Godot, when Charlie Brings the gang over to his grandmother’s house after she extends an invite for him to bring everyone on over it doesn’t become a kids version of Guess Who’s Coming to Dinner. Later, in A Charlie Brown Valentine, it’s Franklin who gets a Valentine while Charlie gets another chance to be snubbed by his classmates.
In fact the only time Franklin’s race came up was in an offhand remark from Peppermint Patty in a strip from November of 1974. Franklin was on an ice rink when Peppermint Patty skated up and demanded to know what he was doing. Franklin was practicing hockey, but Patty wanted the rink to herself to practice figure skating. Franklin responded,
“What about me? I’m practicing to be a great hockey player!”
Then Peppermint Patty coldly responded, asking him,
“How many black players in the NHL, Franklin?”
It was a strip that generated controversy and Schulz got mail for it and his perceived racism. Schulz simply replied, asking if it was racist to point out an obvious in a strip from the 1970s. However, some were also critical about how Schulz didn’t go far enough with Franklin and social issues. After all, he never mention the march in Selma, or the riots in LA, or the deaths of MLK, or Malcolm X, or Nixon’s resignation.
In fact one of the few references to the entire Civil Rights moment occurred in 1993. Franklin and Peppermint Patty are sitting at lunch discussing Dr. King’s “I have a dream speech” and she admits that if not for him the two of them would not be sitting at lunch together. Franklin then says to her,
“And I wouldn’t be trading you a carrot stick for a French Fry.”
Peppermint Patty responds to his offer, saying that it isn’t a fair trade. It’s not a refusal based out of bigotry, but simply the fact that most kids wouldn’t think it a fair to trade what kids see as boring and healthy ( a carrot stick) for something they think tastes good (a French Fry).
When asked about his lack of hot-button political issues in his strip, in one interview, Schulz explained,
“What are called “social issues” in some of these strips I think are so obvious and so obnoxious that—I think the social issues that I deal with are much more long-lasting and more important than losing the White House. Those are easy targets, no matter which party is in the stew. People say, “Don’t you ever deal in social issues?” “Well, don’t you read the strip?” If you read the strip every day, you’ll see that I deal with more social issues in one month than some of these deal [with] in a whole year. But you have to be a little more sensitive to it.”
This meant that Peanuts was never going to go to the levels of strips like Doonsbury or Bloom County, it was also not going to be giant bowl of oatmeal like Family Circus. They were just a bunch of kids who pointed out the absurdity of the world in which they lived, like how holidays become to commercial and lose their meaning. Thus, while Franklin may not become an expy for Rodney King or stage a boycott of Charlie’s father’s barber shop, he could still be used to address the world around him, and in this case, the fictional world that Charlie and his friends live in.
Before he became Peppermint Patty’s classmates, Franklin decided to take Charlie up on his offer to come visit. In a strip dated October 15, 1968, he arrived in Charlie’s own and came upon Lucy’s booth and asked directions. After she pointed out which way to get to his house, Franklin asked how her lemonade business was going. Lucy quickly informed him it wasn’t a Lemonade stand but a psychiatric booth. Franklin was puzzled, wanting to know if she was actually a licensed psychologist, to which Lucy just asked him if the Lemonade at stands was ever really good.
Then in the next strip in the cycle, he saw Snoopy on his doghouse, pretending to be engaged in combat with the Red Baron. Franklin humored the dog, calling him “lieutenant” before asking for Charlie’s house. Snoopy pointed out the house and pondered in his imagination of Franklin was part of a new recruitment drive. Then in the strip from the following day, he came to Charlie’s house only to learn from Linus that Charlie was not home.
Much like Charlie, Linus was happy to meet the new kid and offered to wait with him, but not before taking the opportunity to say a few words about the Great Pumpkin. Then in the concluding strip, Charlie finally arrived and wanted to know why Franklin was leaving when he only arrived. Franklin exclaimed,
“I’m going home, Charlie Brown…this neighborhood ahs me all shook. I didn’t mind the girl at the booth or the beagle with the goggles, but that business about the Great Pumpkin? No, sir!”
Then, to prove Franklin’s point further, Schroeder came up to them and pointed out that it was only 60 days until Beethoven’s birthday. This would not be the last we would see of Franklin as he would quickly become one of Peppermint Patty’s classmates, sitting directly in front of her and Marcie. It can be inferred that his family probably moved as all indications through the strip usually place Peppermint Patty as living across town from the Brown, Van Pelt and Schroeder households.
This would also mean he would frequently become part of the strips that saw Patty’s team take on Charlie Brown. Prior to this he was on another team and in one arc from April of 1969, both Patty and Franklin would even go on to help give Charlie Brown and his baseball team a rare two game winning streak. In a strip from April 23rd, 1969, he calls Charlie up to tell him,
“Hello, Charlie Brown? This is Franklin..We won’t be able to play your team today. …Five of our guys can’t make it…we’ll just have to forfeit the game…you win, Charlie Brown…”
Franklin would later become part of Patty’s team with no explanation, but it doesn’t matter much in the grand scheme of things for little league baseball. It is not uncommon for a kid form one little league team to move to another either because of their family moves to a different part of town or the kid’s first team dissolves due to a lack of enrollment, or interest. It also just made the specials and features logistically easier to manage as it would keep the core cast together, just on opposite sides.
Based on his appearance at various shared school functions, including the all- school party for Valentine’s Day in A Charlie Brown Valentine, a Christmas pageant in It’s Christmas Time Again Charlie Brown where he plays the Angel Gabriel opposite Marcie as Mary and Peppermint Patty as a sheep, it becomes probably that Franklin, along with Patty and Marcie aren’t in a different school, but just a different classroom.
Due to his calm demeanor and level headed attitude it made him the more logical choice to act as stage manager for the school talent show in The Peanuts Movie. He is the one to make sure everything goes smoothly behind the scenes and gives the order to drop the curtains if an act goes to long. On top of that he becomes the one to give Charlie Brown the difficult choice of giving up his own act to help Sally when the younger Brown’s act is floundering, leading to Charlie’s big heroic moment.
Along with his father, Franklin has a deep sense of admiration for his grandfather, and is frequently seen talking about him and the things he learned from him. In the This is America Charlie Brown special on the Smithsonian, Franklin relates to the gang a good deal about the Great Depression that he learned from his grandfather. Granted, like most kids he doesn’t quite understand some of the things older people do. For example in one strip from May 25, 1988.
“My grampa went to his high school’s fortieth reunion last night…He’s also been to a college reunion..he has a new career…he goes back to things.”
The only other hint we get about his family comes when he is going to the movies with another kid in town in a strip from November 22, 1969. In this strip we find out that Franklin’s mother has a bit of irrational paranoia, which is perhaps why he is able to avoid the pitfalls of the rest of his peers. He has seen firsthand just how it sounds when you worry about silly things that may never happen like Charlie, Lucy and Linus do, and how his mother tends to miss out on life because of this. Franklin tells the boy,
” My mom and dad were going on a little vacation, but they changed their minds. Mom is kind of a worrier. She says what if they were driving down the freeway doing about seventy, and suddenly something went wrong with the glove compartment.”
He is also just as knowledgeable about music as Schroeder. In the This is America, Charlie Brown special on the music and inventors of America, Franklin is the one to talk a good deal about Jazz and blues music. We also see that as far as a special skill, he is the best dancer of the group. It doesn’t take more then a casual glance at the Peanuts gang in A Charlie Brown Christmas to see that they dance like a bunch of white Midwesterners. In two specials from the 80’s, however we see that Franklin knows how to bust a move.
Further, we see just how well rounded he is in another strip from March 21st, 1972, Peppermint patty asks him to come over after school for a game of Marbles. Franklin tells her,
“I can’t…I have a guitar lesson at three-thirty…right after that I have little league, and then swim club, and then dinner and then a ‘4H’ meeting…I lead a very active Tuesday!”
While it’s easy to dismiss Franklin as a “token” minority character, his legacy cannot be disputed. He was the first of his kind character in a children’s strip as he was a sympathetic and realistic portrayal of a different minority that didn’t pander to or talk down to the cast. More importantly, in a world where the heroes best friend can quote scripture while carrying a blanket and talking about the Great Pumpkin, his dog pretends to be a world war flying ace, and his parent nemesis is his psychiatrist, Franklin is a bastion of sanity in Charlie Brown’s wild and crazy world. All good comedy needs a good straight man, and Franklin is the perfect foil for these eccentric characters.
Even when he tries to be neurotic like the rest of the gang, he quickly discovers how pointless it can be. As he tells Patty in a strip from October 19th, 1972.
“I was worried about this test all night…I worried and worried and worried…I got an ‘A’. I wasted a good worry.”
Cavna, Michael. “Franklin Integrated ‘Peanuts’ 47 Years Ago Today. Here’s How a Teacher Changed Comics History.” The Washington Post. WP Company, 31 July 2015. Web. 20 Feb. 2017.
Florido, Adrian. “How Franklin, The Black ‘Peanuts’ Character, Was Born.” NPR. NPR, 06 Nov. 2015. Web. 20 Feb. 2017.
Heintjes, Tom. “Crossing the Color Line (in Black and White): Franklin in “Peanuts”.” Hogan’s Alley. N.p., 31 July 2015. Web. 20 Feb. 2017.
FILM: Martino, Chris (Dir.)The Peanuts Movie Starring Noah Schnapp, Alex Garfin, Hadley Belle Miller, Mariel Sheets, Noah Johnston, Venus Omega Schultheis, Madisyn Shipman, AJ Teece, Marelik “Mar Mar” Walker, William Wunsch, Rebecca Bloom, Anastasia Bredikhina, Francesca Angelucci Capaldi, Troy “ Trombone Shorty” Andrews, Kristin Chenoweth, and Bill Melendez. Bryan Schulz, Craig Schulz, and Cornelius Uliano (writers). Blue Sky Studios/20th Century Fox. 2015.
TV SPECIAL: Melendez, Bill (Dir.) “The Smithsonian and the Presidency”. This is America, Charlie Brown. Starring: Erin Chase, Brandon Stewart, Brittany Thornton, Erica Gayle, Marie Cole, Jason Mendleson, Hakeem Abdul-Samad, Frank Welker, Gregg Berger, Hal Smith and Bill Melendez. Lee Mendelson and Charles M. Schulz (writers.) 1989.
TV SPECIAL: Melendez, Bill (Dir.) “The Music and Heroes of America”. This is America, Charlie Brown. Starring: Erin Chase, Brandon Stewart, Brittany Thornton, Erica Gayle, Marie Cole, Jason Mendleson, Hakeem Abdul-Samad, and Bill Melendez. Lee Mendelson and Charles M. Schulz (writers.) 1989.
TV SPECIAL: Melendez, Bill (Dir.) It’s Christmastime Again, Charlie Brown. Starring Jamie E. Smith, Mindy Ann Martin, John Christian Graas, Marnette Patterson, Jodie Sweetin, Phillip Lucier, Lindsay Bennish, Sean Mendelson, Deanna Tello, Matthew Slowik, Brittany M. Thornton, and Bill Melendez. Charles M. Schulz (writer.) Lee Mendelson Film Productions, Bill Melendez Productions, Charles M. Schulz Creative Associates / United Media Productions. 1992.
TV SPECIAL: Roman, Phil ( Dir). A Charlie Brown Thanksgiving. Starring Todd Barbee, Stephen Shea, Melanie Kohn, Greg Felton, Jimmy Ahrens, Linda Ercoli, and Bill Melendez. Charles M. Schulz (Writer.) Lee Mendelson/Bill Melendez Productions/United Features Syndicate. 1974.
TV SPECIAL: Roman, Phil ( Dir). Be My Valentine, Charlie Brown. Starring Duncan Watson, Stephen Shea, Melanie Kohn, Greg Felton, Lynn Mortensen, Linda Ercoli, and Bill Melendez. Charles M. Schulz (Writer.) Lee Mendelson/Bill Melendez Productions/United Features Syndicate. 1975.
TV SPECIAL: Roman, Phil (Dir.) She’s a Great Skate, Charlie Brown. Starring Arrin Skelley, Patrica Patts, Casey Carlson, Debbie Muller, Tim Hall, Bill Melendez and Jason Victor Serinus. Charles M. Schulz (Writer).) 1980.
TV SPECIAL: Melendez, Bill and Sam Jaimes. It’s Flashbeagle, Charlie Brown. Brett Johnson, Stacy Ferguson, Jeremy Schoenberg, Heather Stoneman, Gini Holtzman, Keri Houlihan, and Bill Melendez. Charles M. Schulz (writer.)1984
Popova, Maria. “Charles M. Schulz, Civil Rights, and the Previously Unseen Art of Peanuts.” Brain Pickings. N.p., 08 Nov. 2015. Web. 20 Feb. 2017
INTERVIEW: Schulz, Charles M. “Charles M. Schulz An Interview by Michael Barrier.” Interview by Michael Barrier. Michael Barrier.com: Exploring the World of Animated Films and Comic Art. N.p., July 2003. Web. 20 Feb. 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 31st July, 1968 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 1st August, 1968 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 2nd August, 1968 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 15th October, 1968 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 16th October, 1968 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 17th October, 1968 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 18th October, 1968 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 23rd April, 1969 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 22nd November, 1969 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 21st March, 1972 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 19th October, 1972 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 7th November, 1974 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 25th May, 1988 Peanuts Worldwide,LLC.Web. February 22, 2017.
Schulz, Charles M. “Peanuts.” GoComics.com. This comic’s first appearance: 18th January 1993 Peanuts Worldwide,LLC.Web. February 22, 2017.
PHOTOCREDIT: 1974. Peanuts Worldwide.