Word: cartoonists
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...gang was appealing but also strange. Were they children or adults? Or some kind of hybrid? In their early years, the characters were volatile, combustible. They were angry. "How I hate him!" was the very first punch line in "Peanuts." Charlie Brown and his friends could be, as the cartoonist Al Capp said, "mean little bastards, eager to hurt each other." In "Peanuts," there was always the chance that the rage of one character would suddenly bowl over another, literally spinning the victim backward and out of frame. Coming home to relax, Charlie Brown sits down to a radio broadcast...
...Chronic rejection and unrequited love are the twin plinths of Schulz's early life and later work. Even when he had become the one cartoonist known and loved by people around the world, he could still say, with conviction, "My whole life has been one of rejection...
...Melancholy would dog him all his life, as would feelings of worthlessness, panic, high anxiety and frustration. It wouldn't matter that he married twice, raised five children, and became the most widely syndicated and beloved cartoonist of all time, attaining success on a scale no individual comic strip artist had ever known. Success fell off him. He was unable to take refuge in its rewards. With his first wife and five children, he moved in 1958 to a paradise among the redwoods of Northern California, where he briefly found happiness during a decade in which the work...
...Lucy, talented Schroeder, narcoleptic Peppermint Patty, became revered figures in Japan, beloved in England, France, Germany, Norway, Italy, and known by sight in 75 countries throughout Europe, South America, Africa, Australia and Asia. The Times of London called them "international icons of good faith" - perhaps not surprising for a cartoonist with a Dickensian gift for characterization. At all levels of society "Peanuts" had a profound and lasting influence on the way people saw themselves and the world in the second half of the 20th century...
...Schulz's achievement was singular and planetary. An artist, a storyteller, he was now a worldwide industry, too. This had never happened to a newspaper cartoonist before. The new markets that "Peanuts" was dominating in stage, television, film, book, record and subsidiary forms, simply hadn't been open to newspaper comic strip artists in 1950, when United Features Syndicate had given Schulz the chance to dream his dream. On that one night in 1969, he reached a larger, more diverse audience than any other single popular artist in American history. What was more, "Peanuts" was single-handedly expanding an industry...