![]() ![]() Sparky Schulz both cultivated and shied away from fame. Yet Michaelis shows us a cartoonist who truly didn't get out much. Two of the greatest icons of wholesome, tolerant, middlebrow America in the 1950s-70s never met, even though Schulz was only slightly less important to CBS than Cronkite himself. This is one of the more bizarre missed chances in cultural history, if you think about it, akin to Marcel Proust inhabiting fashionable Paris for decades without ever meeting Edith Wharton. ![]() "One of my great regrets is that I missed my chance to meet 'Sparky' Schulz in person," says Walter Cronkite. The dust jacket of Schulz and Peanuts presents another oddity in the lead blurb. In his Sunday title panels, Schulz would do his best to undercut "Peanuts" by giving the strip a subtitle, "Good Ol' Charlie Brown." Yet here it is, that "worst title," linked forever to Schulz's name in his first definitive biography. Snatching an idea from Howdy Doody's Peanut Gallery, they dubbed the strip Peanuts, a title that its author found "doubly and triply obnoxious" and upon further consideration decided was "the worst title ever thought of for a comic strip" (221). Schulz's comic strip Li'l Folk, but trademark considerations drove them to choose another title. In 1950, United Feature Syndicate bought Charles M. ![]() Lection home authors titles dates links aboutÄavid Michaelis's Schulz and Peanuts is curiously titled. ![]()
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