The series that launched a comic strip renaissance enters Schulz's second decade.Launching into the 1960s, Schulz adds another new cast member. Two, in fact: The obnoxious Frieda of "naturally curly hair" fame, and her inert, seemingly boneless cat Faron. The rapidly maturing Sally, who was after all just born in the previous volume, is ready to start kindergarten and not at all happy about it. Lucy and Linus' war over the security blanket escalates, with Lucy burying it, cutting it apart, and, in the longest sequence of the book, turning it into a kite and allowing it to fly away. Aauugh! In fact, Linus' life is particularly turbulent in this volume, as he is forced to wear glasses, sees the unexpected return of his favorite teacher, Miss Othmar, and coaxes Sally into the cult of the Great Pumpkin (with regrettable results).
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By 1961-62, "Peanuts" was truly the comic strip that we all still know and love, with situations and sayings that would cement its place as one of the most memorable literary creations of all time. Linus is firmly center stage, and if not for baseball would probably eclipse Charlie Brown in status. His efforts to defend his blanket are legendary (Lucy buries it and turns it into a kite), he gets glasses, and his favorite teacher, Miss Othmar (now known as Mrs. Hagemeyer) returns, which leads to some consternation when he (1) learns that she's accepting money to teach and (2) tells her he'll give up his blanket if she gives up biting her fingernails. There's a new character, Frieda with the naturally curly hair, and her floppy cat strikes terror throughout the neighborhood. Oh, about that baseball team. Everyone quits when Schroeder gives up baseball for Beethoven (leading CB to take out a personal ad to manage another team), they decide their pep talk is making them hypocrites, and Linus is assigned to scout the opposing team. As much as "Peanuts" is a reflection of its era ("Why couldn't McCovey have hit the ball just three feet higher?"), it also had a self-awareness as a comic strip (Linus: "The most recent criticism is that there is too little action and far too much talking in the modern-day comic strip. What do you think about this?" CB: "Ridiculous!") that proved just how far Charles M. Schulz was ahead of his time. With fellow pianist Schroeder on the cover, Diana Krall wrote this volume's introduction. --David HoriuchiAbout the Author:
Charles M. Schulz was born November 25, 1922, in Minneapolis. His destiny was foreshadowed when an uncle gave him, at the age of two days, the nickname Sparky (after the racehorse Spark Plug in the newspaper strip Barney Google).In his senior year in high school, his mother noticed an ad in a local newspaper for a correspondence school, Federal Schools (later called Art Instruction Schools). Schulz passed the talent test, completed the course, and began trying, unsuccessfully, to sell gag cartoons to magazines. (His first published drawing was of his dog, Spike, and appeared in a 1937 Ripley's Believe It or Not! installment.) Between 1948 and 1950, he succeeded in selling 17 cartoons to the Saturday Evening Post―as well as, to the local St. Paul Pioneer Press, a weekly comic feature called Li'l Folks. It was run in the women's section and paid $10 a week. After writing and drawing the feature for two years, Schulz asked for a better location in the paper or for daily exposure, as well as a raise. When he was turned down on all three counts, he quit.He started submitting strips to the newspaper syndicates. In the spring of 1950, he received a letter from the United Feature Syndicate, announcing their interest in his submission, Li'l Folks. Schulz boarded a train in June for New York City; more interested in doing a strip than a panel, he also brought along the first installments of what would become Peanuts―and that was what sold. (The title, which Schulz loathed to his dying day, was imposed by the syndicate.) The first Peanuts daily appeared October 2, 1950; the first Sunday, January 6, 1952.Diagnosed with cancer, Schulz retired from Peanuts at the end of 1999. He died on February 13, 2000, the day before Valentine's Day―and the day before his last strip was published―having completed 17,897 daily and Sunday strips, each and every one fully written, drawn, and lettered entirely by his own hand―an unmatched achievement in comics.
Jazz pianist and singer Diana Krall's albums include The Look of Love, The Girl in the Other Room, From This Moment On, Quiet Nights and more. She has sold more albums than any other female jazz artist during the 1990s and 2000s. and is the the only jazz singer to have eight albums that debuted at the top of the Billboard Jazz Albums. She has won multiple Grammy Awards and Juno Awards.
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Descripción Fantagraphics Books, 2006. Hardcover. Estado de conservación: New. Nº de ref. de la librería DADAX1560976721
Descripción Fantagraphics 2006-11-17, 2006. Hardcover. Estado de conservación: New. 1560976721 We guarantee all of our items - customer service and satisfaction are our top priorities. Please allow 4 - 14 business days for Standard shipping, within the US. Nº de ref. de la librería TM-1560976721
Descripción Fantagraphics, 2006. Hardcover. Estado de conservación: New. Never used!. Nº de ref. de la librería P111560976721
Descripción Fantagraphics. Hardcover. Estado de conservación: New. Estado de la sobrecubierta: New. 1st Edition. FIRST PRINTING OF THE HARDBACK FIRST EDITION, and very hard to find in a true first printing. Fans of this superb strip include Ray Bradbury, Umberto Ec, Diana Krall, and The Observer newspaper. Across the world the fans have celebrated the utterly consistent world of the characters inside Schulz's imagination. Canongate are releasing the entire collection, and as one expects they are being collected. This is a great classic comic strip, maybe the best ever. Good grief, you don't have to be American to dig baked beans. Nº de ref. de la librería ABE-1493044647131