Tagged: Peanuts

The Point Radio More With PSYCH

The Point Radio More With PSYCH

We wind up our backstage visit to USA Network’s PSYCH by talking to the man who created the show and we get the secret origin of that pineapple.  Plus BASTARDS does big box office, you could be the next Charles Schultz and there are Five Things you need to see in the comic store this week and we list them right here!


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Elvis Presley Top Dead Earner

Elvis Presley Top Dead Earner

Forbes released their annual list of Top-Earning Dead Celebrities, who have combined to earn $194 million over the last 12 months, October 2007 to October 2008, despite remaining six feet under.

As you might expect, Elvis remains King, representing $52 million in fees. Colonel Parker would be so proud. Meantime, compare that with the top earnings of Justin Timberlake who brought in a merely mortal $44 million. Of course, he didn’t have the sideburns. Or a 30th anniversary of his drug-induced death to flog.

Second place went to Peanuts creator Charles Schulz since the strip and its related licensing continue to generate income.

The newest addition to the list, Heath Ledger, took third place since his own overdose in January. Forbes is estimating that with his cut of The Dark Knight film and merchandise, his estate will bank about $20 million.

Another unfortunate addition is the great Paul Newman, who died in September. With his Newman’s Own line of products sending its cash right to charities, his revenues from his films and other memorabilia tallied up about $5 million.

Marilyn Monroe, forever a tragic icon, made the list for each of its eight years of existence with $6.5 million earned just this past year. Right behind her was James Dean, another relic from the 1950s, who brought in about $5 million.  Both were featured in an ad from Mercedes-Benz.

Review: The Complete Peanuts, 1967 to 1968 by Charles M. Shulz

Review: The Complete Peanuts, 1967 to 1968 by Charles M. Shulz

The Complete Peanuts, 1967-1968
By Charles M. Schulz; foreword by John Waters
Fantagraphics, February 2008, $28.95

By 1967, [[[Peanuts]]] wasn’t just another comic strip in the local newspaper, it was a media phenomenon. The first TV special, A Charlie Brown Christmas, had won an Emmy amid universal acclaim two years earlier, and You’re a Good Man, Charlie Brown was about to open on Broadway. It was the epitome of mainstream entertainment – on May 24th, California Governor Ronald Reagan and the state legislature even proclaimed it “Charles Schulz Day.” The strip hadn’t quite hit its ‘70s mega-merchandising heyday, but it was getting there.

At the same time, not all that far from Schulz’s Santa Rosa home, Berkley was roiling with anti-war fervor and the Summer of Love had hit San Francisco. Peanuts had been seen as an edgy, almost countercultural strip in the early 1950s, but those days were long past, and Peanuts was the Establishment. In those days, you were with the pigs or with the longhairs, right? And where did Peanuts stand?

From the evidence here, Peanuts stood where it had always stood: on its own, only rarely commenting on specific issues of the day (such as the “bird-hippie” who would become Woodstock in another year or two), but talking around those issues in ways that most of America could laugh at… some more uncomfortably than others. Schulz was never one to declare himself on one side of an issue or the other; he’d just write and draw his cartoons, and let others make their interpretations.


Let’s you and him fight!

Let’s you and him fight!

Cartoonist Barry Deutsch aka Ampersand reposts a lengthy analysis from his blog archives comparing the oeuvre, if you will (and if you won’t, I certainly won’t), of Charles Schultz’ Peanuts versus Jim Davis’ Garfield.

Deutsch subjectively crowns Peanuts the winner in every one of his self-defined categories of Originality, Humaneness, Emotional Life, Egalitarianism, Grace and Humor.  Fortunately, Lasagna is not one of his categories, or it wouldn’t be such a clean sweep.