Snoopy’s Legal Guardian
During 27 years of marriage to “Peanuts” creator Charles M. Schulz, Jeannie Schulz sat by her husband’s side at business dinners and sometimes visited his studio as he worked.
She was not his business partner, nor his creative “other half.” In the world of “Peanuts,” she had no title -- and that was fine with her.
Over the years, though, the cartoonist whom she and others called Sparky hinted that her relationship with his work might change one day. When I’m gone all this is yours, he would tell her. You can be anything you want.
“He was always kidding,” she said. “He kept everything he did light like that so you never really knew what he meant.”
Then, six years ago, Charles Schulz died at age 77. Jeannie Schulz was 60, a grandmother devoted to her family and charity work. But suddenly, she was also the new chief of Creative Associates, the $35-million-a-year enterprise that managed a cartoon heritage loved by millions.
Although Charles Schulz’s son Craig from a previous marriage would be there as president, she would be responsible for helping oversee decisions on everything from pro bono appearances of “Peanuts” characters to licensing agreements.
Before her husband’s death, she had taken the lead on the creation of a museum honoring his legacy. Now it, too, was left to her to complete.
Her resume seemed unequal to the task. But having once conquered fear in the air, she learned also to trust herself on the ground.
If daring were genetic it would be easy to understand Jeannie Schulz’s chutzpah.
In the 1960s -- before the women’s movement propelled women into places they had never gone before -- her then 50-year-old mother began pilot training. Jeannie took lessons as well, and mother and daughter flew as pilot and co-pilot in the Powder Puff Derby, a cross-country, all-women’s air race.
“She was always more of a liberated woman than a housewife,” Jeannie recalled.
In those early flying lessons Jeannie learned to handle her phobias as well as a plane. It wasn’t that she was so brave, she simply knew how to put fear in its place.
That’s how she ended up on a trapeze.
In 1990, when she saw others flying trapeze at a Club Med in Mexico, Schulz joined the line, setting aside her fear of heights. She was 50 and already a grandmother, but why not try? On the climb up the tall, steel ladder, she said, she looked down, petrified. All she could do was keep climbing. Standing on a platform at the top of the ladder, she was supposed to grab a bar, lean backward, hang upside down by her knees, swing herself out, then release into the arms of a “catcher.”
How on earth did I get myself into this? she thought, as she listened to the instructions.
She couldn’t do it. The best she could do was hang from the bar by her hands and then drop into a net below, humiliated. She looked at those who were flying and thought, They’re no better than I am, no stronger.
Back home in Santa Rosa, each time she took her grandchildren to the playground, she did pull-ups on the monkey bars, as if preparing for the next meeting with the schoolyard bully.
She was always tenacious. Born in England to German parents, Jean Forsyth was raised mostly in California. She had worked as a telephone operator in her younger years, had earned a degree in English literature from Sonoma State, and was a divorcee when she met Schulz.
They met at the Redwood Empire Ice Arena, the rink Schulz built in Santa Rosa.
In 1973 the two were married in a private ceremony at Schulz’s home in Santa Rosa. It was the second marriage for Schulz, who had been divorced from his first wife earlier that year.
While he was busy drawing, she was busy too.
There was an active family life -- she had two children from her previous marriage, and he had five. There were the charities and civic groups, including the League of Women Voters and Canine Companions for Independence, which supplies trained dogs to people with disabilities. There was the Schulz family philanthropy to the town: an ice skating show each Christmas, a baseball field and other donations."He was pleased with what I was doing, and probably glad I was staying out of his hair,” she said.
But there were times when she influenced “Peanuts” without even trying. She is the reason Charlie Brown’s little sister, Sally, coos “my Sweet Babboo” to her crush, the blanket-toting Linus.
“I used to call Sparky ‘Sweet Babboo,’ and he took it for the comic strip,” she said. “Then I couldn’t use it anymore.”
Her years of flying with her mother became fodder for a 1975 strip with Peppermint Patty and Marcie “flying” atop Snoopy’s dog house.
“You didn’t give Sparky ideas, he took them,” she said.
In 1995, author and philosopher Sam Keen erected a trapeze.
With a teacher like Keen, there was no reason for Jeannie to give her fear of heights a front-row seat inside her mind.
But after about seven weeks of driving 20 miles to Keen’s Sonoma farm and ranch, Jeannie had not flown through the air with the greatest of ease. In fact, she hadn’t “flown” at all.
One day on the drive to the ranch, she told herself, I really don’t have to do this. That day, she tried once more to follow the instructions that were supposed to make her airborne. This time she flew into the arms of the catcher.
“At that point,” she said, “I was hooked.”
Trapeze demands focus and timing. You must trust your partner to catch you. Trapeze is in some ways a team effort, some ways an individual sport.
“It’s not like a baseball game where you feel bad if you strike out, or tennis where if you miss an overhead you’ve blown something,” Jeannie said. “Here the performance is your own.”
Trapeze was helping her learn to trust her body, to revel in its abilities -- age aside. This was not one of those loves, like golf, she shared with Sparky. It was hers alone.
She continued setting goals and reaching them.
“I wanted to do a knee hang [without a safety belt] for my 60th birthday,” she said, a feat that required, above all, courage.
While she practiced flying, she also practiced building.
Two longtime family friends -- Ed Anderson and Mark Cohen -- had been urging Schulz to create a museum, but Schulz had been reluctant. “It was that self-effacing way that he dealt with almost everything that was flattering,” Jeannie said. “That was his way ... to not set himself up for defeat.”
At a meeting of “Peanuts” licensees in Arizona in 1997, Jeannie broke through. Present was Yoshiteru Otani, a Japanese artist Schulz admired for his imaginative treatment of “Peanuts” characters, his whimsy and understanding.
Jeannie Schulz posed a question: What if Otani agreed to create works for the museum? The museum would be more than a repository of “Peanuts.” It would be a thoughtful celebration of Schulz’s art and its influence.
“Sparky simply said, ‘Yes,’ and that was enough for me to go ahead,” she recalled.
Otani was stunned by the invitation.
“Jean Schulz asked me if I could be involved in a museum which celebrates Schulz’s artwork,” Otani said through an interpreter. “I was as surprised when I was selected,” as if “Charlie Brown had kicked the ball that Lucy was holding.”
She began assembling a museum board. With Anderson and Cohen ,she visited the presidential libraries of Richard Nixon and Ronald Reagan and the museum in Salinas celebrating author John Steinbeck.
They brought their observations back to Schulz, and he had the final word.
Computer stations were out. The cartoonist never used them, knew nothing about them.
The “happiest place on earth” ambience was out. “I don’t want this to be a Disneyland,” he said.
Schulz was adamant that the museum focus on the strip, not him. “If you want to know me,” he often said, “read my strip.”
That request spoke to his modesty, but also to his relationship with other “Peanuts” products. Beginning in the late 1950s, “Peanuts” characters entered the lucrative world of merchandising. But with the exception of the early books and film productions, such as “A Charlie Brown Christmas,” Charles Schulz was not their creator.
“He just wanted to be known for the thing he put so much effort into,” she said.
Charlie Brown and the gang debuted in U.S. newspapers on Oct. 2, 1950. From then on Schulz drew, inked and lettered the strip by himself, creating more than 18,000 strips. Schulz had been generous over the years, giving original strips to friends, or fans, or nonprofits that auctioned them at fundraisers. As news of the museum spread, some friends and fans returned the strips. Jeannie also began purchasing others from auction houses, off EBay and from private sellers. The early strips cost as much as $10,000.
By the fall of 1999, the building plans were complete, permits granted. Soon the board would select a museum director. To top it off, Jeannie had met her 60th birthday goal on the trapeze.
Then came November.
Doctors informed Schulz that he had cancer. On Nov. 16, while at his studio, he complained of pain in his legs. He was taken to a hospital, where emergency surgery cleared a blockage in the abdominal aorta.
Schulz later suffered a series of small strokes that left him partially blind. Reading was difficult, and though he could still draw, he was unable to keep up his strip-a-day schedule.
By the end of the year, Schulz announced his retirement and the end of the strip. Before his illness, Jeannie had practiced trapeze three times a week. Even now, with everything changing around her, she did not break the routine.
“Even when he was in the hospital, he’d say, ‘You go and do trapeze, I’m OK. It’s important for you.’ He knew that it was a big thing for me. And he was proud of me for doing it.”
At Keen’s ranch she continued to practice. Now trapeze was a refuge, a place to be bold, to revel in small victories and put aside, while in the air, everything happening below.
In January 2000, Schulz sat in on interviews for a museum director and expressed his preference. The evening of Feb. 12, he went for a skate at his arena. That night he died in his sleep with Jeannie at his side. The National Cartoonist Society website posted a drawing of Snoopy weeping. Schulz was buried in nearby Sebastopol.
Jeannie hardly had time to mourn -- the museum was underway and she had a legacy to tend.
“I’m a poor substitute, but I’m the only thing they’ve got and I take that seriously because I take his memory very seriously,” she said.
Now, she offers the final word on her husband’s genius: She approved a labyrinth in the shape of Snoopy’s head, a garden with a “kite-eating tree,” a timeline of Sparky’s life. She decided to recreate his studio, just as it had been when he died.
The Charles M. Schulz Museum and Research Center, a nonprofit built with $8 million in private money, has been open to the public since August 2002.
Guests walk through a gallery filled with strips and view them as if looking at old pictures in a family photo album. There are historically based exhibits as well, such as “Top Dogs: Comic Canines Before and After Snoopy,” and a tribute to jazz musician Vince Guaraldi, father of the “Peanuts” sound.
“We have fine people running these things and they could run it without me,” Jeannie said, “but as long as I’m around there’s always small details that I’d like to know about.” She spends a portion of each day reviewing, photographing and cataloging new “Peanuts” products. “I periodically see things I don’t care for,” she said. And sometimes she rejects them, like the idea for an arcade “crane game,” in which players would manipulate large steel claws to grab a plush Snoopy. Most players, of course, would lose their money. In the version Jeannie ultimately approved, everyone who pays to play wins something.
Sometimes she still wonders what Sparky would say about all she’s done. Would he like it?
More often she sounds sure of herself, the voice of a woman who has learned to trust herself in the sky and on the ground.
Jean Schulz Height, Weight, Net Worth, Age, Birthday, Wikipedia, Who, Instagram, Biography
Jean Schulz is the widow of late Charles “Sparky” Schulz who made the acclaimed animation character Snoopy. Does Jean have any kids with Charles together? We will uncover everything about the couple in this article underneath!
Jean and Charles were hitched for a very long time before Charles tragically died in 2000. Presently, Jean is the leader of the Charles M. Schulz Museum. Moreover, she as of late delivered “The Snoopy Show” in the Apple TV+.
Jean Schulz is the age of 81 years of age as of now. She was born in Mannheim, Germany to her British guardians. Moreover, her family possessed the Berlitz Language School.
Jean Schulz Biography
|Real Name||Jean Schulz|
|Age (as of 2021)||81 Years|
|Birth Place||Mannheim, Germany|
|Sun sign||Not Known|
|Height||in feet inches – 5’ 4” – in Centimeters – 163 cm|
|Weight||in Kilograms – 54 kg – in Pounds – 119 lbs|
|Shoe Size||6 (US)|
|College||Sonoma State University|
|Is she a Lesbian?||No|
|Husband?||Charles M. Schulz|
Jean later moved to America with her family, where she agreed to life. Disregarding her mature age, Jean is effectively attempting to keep the tradition of Sparky alive. In addition, she likewise runs the Canine Companions for Independence association.
Jean and Charles got hitched in 1973 after right away beginning to look all starry eyed at. They met each other unexpectedly when Jean visited Charles’ Hockey arena with her girl. Nonetheless, Jean Schulz and Charles have not revealed any youngsters together.
Then again, Jean Schulz isn’t Charles’ first spouse. Indeed, Charles was hitched to a lady named Joyce Halverson (1951-1972). Additionally, the previous a couple share 4 organic youngsters and 1 received little girl together. In spite of the fact that Charles passed on 21 years prior, his work is as yet celebrated and generally utilized.
As indicated by Celebrity Networth, late Schulz actually creates $32.5 million USD yearly. Along these lines, Jean Schulz is appreciating a very decent existence with a fortune that enormous.
Aside from her significant other’s fortune, Jean is additionally becoming famous. She runs the Charles M. Schulz Museum and behaviors different cause works. Similarly, she is occupied with advancing “The Snoopy Show” at the present time.
The Dark Side of Charles Schulz
Fans of Charlie Brown and the rest of the "Peanuts" gang will not be surprised that Charles Schulz, "Peanuts"' creator, considered himself as bland and boring as his comic-strip alter ego, Charlie Brown. They won't be surprised that Schulz once told Johnny Carson that in high school he failed "everything" and was chronically lonely, nor that he had bitter memories of his childhood in St. Paul, Minn., of bigger kids who "push you down and knock you over and won't let you swing on the swings that you want to swing on." The experiences left such scars, writes David Michaelis in his 655-page "Schulz and Peanuts: A Biography," that Schulz "spoke of these bullies in the present tense."
Fans will be surprised, however, at something else Michaelis found during the seven years he worked on the biography, beginning just after Schulz—whom everyone called Sparky—died in 2000. Not one of the childhood friends Michaelis interviewed "could recall any instance where Sparky himself was picked on," he writes. Although talent going unrecognized was central to the legend Schulz created about himself, in fact his teachers and others regarded Sparky as exceptional. No matter. Schulz's "stubbornly held resentment had no ending," writes Michaelis. "He spent a startling amount of time over nearly sixty years polishing a cameo of boyish helplessness and frustration."
The portrait of the artist as flawed human being has become a clich?, and Michaelis admirably steers clear of it. What he gives us instead is both a dynamic character study and a penetrating literary analysis. For the first, he dispels the myth of "Saint Charles," recounting—with great sympathy, considering—how a father who created the best-known cartoon children in the world almost never kissed his own goodnight, how an evangelical Christian (he even did sidewalk preaching) cheated on his first wife and how the most successful cartoonist in history threatened to sabotage a competitor's strip. This is not the Schulz of "happiness is a warm puppy." Some of this dark side also emerges in "Good Ol' Charles Schulz," a documentary scheduled for later this month as part of PBS's "American Masters" series.
Not surprisingly, the clay-feet portrait has left Schulz's family somewhere between furious and stricken, even though they were Michaelis's sources for stories of Schulz's lack of fatherly involvement, the extramarital love letters and much else. Monte Schulz, the younger son, tells NEWSWEEK the book has a number of errors, though they appear to be on minor points such as where Schulz picked up the neighborhood kids for the school carpool and when a housekeeper worked for the family. More important, he says, he was shocked at the description of his father as an uninvolved parent. "Why would all of us [children] gather at his hospital bed for three months if we hadn't felt enormous affection from him?" he asks. The portrayal is deeply incomplete, he says, leaving out Schulz's love of books and music, his work with women's sports and his devotion to the senior men's hockey team he played on. "Had we known this was the book David was going to write, we wouldn't have talked to him," says Monte. As Craig Schulz, the eldest son, told Michaelis after reading the manuscript, "Well, I guess we were expecting vanilla, but we got rocky road."
Thankfully, Michaelis has packed much more than tabloid fodder into this overlong book. (We could do without the detailed backstory and genealogy of just about everyone Schulz crossed paths with, down to the woman who dreamed up the "Peanuts" licensing empire, even if that is now standard operating procedure for biography.) By plumbing Schulz's psyche, Michaelis has come up with a compelling explanation for the wellspring of his genius, the inspiration for the sweetly melancholic depiction of the human condition that marked "Peanuts."
Schulz had very real tragedies in his life, especially early on. He was deeply dependent on his mother for love and protection but received little of it. In one outing, she shooed him off to play with his loutish cousins, who pelted him with corncobs. His father was a corner barber, and the family's occasional poverty made a lasting impression: when Charlie Brown asks little sister Sally what would happen if their father lost his shop, she says, "We'd probably starve to death." The insecurity was more than theoretical. As his mother lay dying an excruciating death from cervical cancer and no longer had the strength to shop or cook, Schulz sometimes went hungry. "Security," he later wrote in a strip, "is knowing there's some more pie left."
Like most artists, Schulz found grief more inspiring than happiness, but in his case he saw through a glass much more darkly than it really was. He constructed a legend—or a myth—of himself as a loser, as "dumb, dull [and] meek," Michaelis writes. "To what degree he had actually been recognized for his talent or skills … he was not about to give a strictly honest accounting … He knew that hurt, and the anger that sprang from it … was the taproot of his life's work. He must do anything to protect, conceal, and maintain its sources." To concede that teachers admired his talent, or that he had friends and was deeply loved, would have destroyed that taproot.
In one telling incident, Schulz submitted drawings to his high-school yearbook, encouraged by a teacher-adviser who championed him and his work. The yearbook's student staff, however, was not inclined to reward a boy who gave off an air of superiority (stoked by the teacher's patronage) and never attended meetings. Worse, Schulz had submitted drawings of contemporary student life for a yearbook whose design motif was archaic-looking silhouettes. The drawings were not published. Rather than attribute the rejection to these mundane, and arguably reasonable, reasons, Schulz turned it into "his first major intellectual grudge," Michaelis writes, and remembered it for decades. Schulz "thought of himself as a thwarted innocent, a lonely, misunderstood, good-hearted kid who wanted only to earn a little recognition" for his drawing. The conviction that he never got what he deserved provided "an energizing sense of injury"—and the inspiration for Charlie Brown.
From early childhood Schulz doodled on any paper he could get his hands on, and said that his ambition "from earliest memory was to produce a daily comic strip." After high school and service in World War II, he began sending off cartoons to Colliers and the Saturday Evening Post; the magazines rejected every one. Disney told him he was unqualified to work as an animator. But in 1947, while supporting himself as an art instructor at a correspondence school in Minneapolis, Schulz sold a four-panel strip he called "Sparky's Li'l Folks" to the Star Tribune; it was soon running weekly. From the first, Charlie Brown was Schulz's stand-in, lamenting in one strip that no one loves him; when Violet tells him that she and Patty do, he fires back, "But nobody important loves me."
The objects of his unrequited affection included Donna Mae Johnson, the redhead who worked in the art school's accounting department. She dated Schulz at the same time she was seeing another boy, whom she eventually chose over Sparky. After he got the news from her one day on her stoop, Schulz returned a few hours later to ask if she'd changed her mind. That wasn't the end of it. Schulz "was determined never to put [the rejection] to rest," Michaelis writes. Schulz told friends that Johnson rejected him because her mother disliked him, but in fact the decision was Johnson's alone. She wanted only a "plain, decent Lutheran life" as a housewife, something marriage to a rising cartoonist did not exactly promise, and she married a machinist who had no higher ambition than to take a firefighter exam. For the rest of his life, Michaelis writes, Schulz "would pose as the unappeasable Gatsbyesque lover of the golden—or, in his case, red-headed—girl." Schulz's wistful recollection of Johnson decades later made his friends feel sorry for his wife.
Schulz married Joyce Halverson, a newly divorced mother whose sister Schulz had dated, in 1951, telling her on their honeymoon, "I don't think I can ever be happy." It wasn't so much a prediction as a choice, Michaelis argues. Joyce told him Sparky liked to be depressed: "He said he wouldn't go to a psychiatrist because it would take away his talent" (shades of Lucy's 5? psychiatry practice). Misery became a strategy, for happiness, as Schulz said, "is not funny at all." ("I have deep feelings of depression," Charlie Brown confides in a 1959 strip. "What can I do about it?" "Snap out of it," Lucy replies.)
By 1958, 400 papers were running "Peanuts," but Schulz remained intensely, even brutally, competitive. Around this time a fellow art-school instructor told Schulz he was giving up his cartoon ambitions, to which Schulz replied, "Good. That will make one less cartoonist I have to compete with." Even in the 1990s, when the "Peanuts" juggernaut (sweatshirts, MetLife ads, books, figurines …) was bringing in more than $1 billion and making Schulz $26 million to $40 million a year, graciousness didn't always come easy. When the cartoonist who drew "For Better or Worse" told him she was going to kill off a character Schulz liked, Schulz petulantly told her that if she did he would have Snoopy get hit by a car the same day her strip was to run, "and everybody will worry about Snoopy, and nobody's going to read your stupid story, and I'll get more publicity than you will!" That's the kind of anecdote that has deeply upset Schulz's family. They do not deny that it occurred, but feel Michaelis did not properly balance such stories with examples of Schulz's generosity. Cathy Guisewite, for instance, who draws the strip "Cathy" and knew Schulz for 20 years before his death, recalls him as "generous and gracious and kind, and so encouraging of new cartoonists," she told NEWSWEEK.
Another sore point is the affair Schulz had, beginning in 1970. He was 47; Tracey Claudius, whom he met when she photographed him for a magazine article, was 25. After Joyce discovered the months-long affair, Schulz agreed to break it off, prompting fatalistic notes about love in the strip: a bereft-looking Snoopy, atop his doghouse, asks, "What do you do when the girl-beagle you love more than anything is taken from you, and you know you'll never see her again as long as you live?" To which Snoopy, nose in food dish, provides his own answer: "Back to eating." In fact, Schulz did not give up his "girl-beagle" and go back to eating. He kept seeing Tracey and, a few months later, proposed (while still married to Joyce), saying that as his wife "you could have anything you want. I make $4,000 a day." But Tracey was put off by how he "didn't give a damn about people … he had no larger feeling for humanity," she told Michaelis.
It's always risky taking an ex-lover's word, and a number of Schulz's friends don't recognize him at all in that portrait. Guisewite recalls him as not only generous to young cartoonists, but also as honestly self-effacing. At meetings of fellow cartoonists, she recalls, Schulz always wore his name badge despite being the most famous face there: "He was never really ready to be 'Charles Schulz'; he was just a guy making sure people could say hello to him by name."
Michaelis is at his best articulating the appeal of "Peanuts" through the decades. In the 1950s it struck a chord with people feeling guilty over their vague discontent amid historic postwar prosperity (Linus watching a leaf fall: "Nobody's happy where they are"). In the 1960s it expressed the struggle of young people reaching for inchoate freedoms and pondering the meaning of existence (Snoopy, wondering why he was put on Earth: "I haven't got the slightest idea"). More than anything, "Peanuts" upended the belief that childhood is a time of innocence and happiness, for a child's pain is more acute than an adult's. "Charlie Brown reminded people … of what it was to be vulnerable, to be small and alone in the universe, to be human," writes Michaelis, "—both little and big at the same time."
Michaelis makes wonderful use of the strips, reproducing scores to emphasize points of connection between Schulz's life and work or between the strip and the times. (The syndicate that holds the rights to "Peanuts" sold him the permissions for five cents per strip—Lucy's fee for psychiatric advice.) Schulz's cartoon children never age, for they already suffer from adult disillusionment and angst. Charlie Brown exults at the prospect of finally flying a kite that won't be eaten by a tree, until he pauses and tells the foliage, "Here, take it. It's been a long winter, and I'm very tender-hearted." As novelist Umberto Eco wrote in The New York Review of Books in 1985, "The poetry of these children arises from the fact that we find in them all the problems, all the sufferings, of the adult."
That suffering, actual and mythical, remained until the end the well to which Schulz returned again and again. Even as he lay dying of cancer in 1999, his reminiscences were all "about being picked on as a boy," and how he still wanted revenge on the kids who had bullied him so long ago. "You could see the bitterness in him," a friend recalled. "Nothing in all of his 77 years had been resolved." He seemed "angry at God, angry with friends, angry with fate." Schulz had announced in late 1999 that the strip would end, and drew only another two months' worth. As it happened, he died on Feb. 13, 2000, the day before the final Sunday "Peanuts" strip. As soon as "Peanuts" ended, so did his life.
In David Michaelis’s 2007 biography of Charles Schulz, the author detailed an affair that the Peanuts-comic-strip creator had in the early 70s with a young office worker while still married to his wife of nearly 20 years. Schulz was reportedly so smitten by his junior love interest, Tracey Claudius—who was 25 when she met Schulz, then 48—that he sent her notes and gifts honoring each month of their anniversary. Today, it was announced that Sotheby’s had acquired 44 love letters, including more than 20 drawings, from Claudius’s family, and will be auctioning them off on December 14.
Perhaps the most interesting detail in the A.P.’s announcement of the upcoming sale, though, is how Schulz later alluded to his relationship with Claudius in his comic strips.
In two letters from 1970 Schulz writes that he must cease calling Claudius because his long-distance phone calls to her had been discovered by his wife. Soon after, he created a strip in which Charlie Brown berated Snoopy for his obnoxious behavior when he’s not allowed to go out “to see that girl beagle.” In subsequent panels, Charlie warns Snoopy “you’d better start behaving yourself” and when Snoopy picks up the telephone, Charlie Brown yells “And stop making those long-distance phone calls.”
Schulz reportedly proposed to and was rebuffed twice by Claudius. After divorcing his first wife in 1972, the Peanutscreator wed Jean Forsyth Clyde the following year. They remained married until his death, in 2000.
Wikipedia jean schulz
Charles M. Schulz
For other people with the same name, see Charles Schultz (disambiguation).
Charles Monroe "Sparky" Schulz (; November 26, 1922 – February 12, 2000) was an American cartoonist and creator of the comic strip Peanuts (which featured the characters Charlie Brown and Snoopy, among others). He is widely regarded as one of the most influential cartoonists of all time, cited by cartoonists including Jim Davis, Bill Watterson, Matt Groening, and Dav Pilkey.
Early life and education
Charles Monroe Schulz was born in Minneapolis, Minnesota on November 26, 1922  and grew up in Saint Paul. He was the only child of Carl Schulz and Dena Halverson. He was of German and Norwegian descent. His uncle called him "Sparky" after the horse Spark Plug in Billy DeBeck's comic strip, Barney Google, which Schulz enjoyed reading.
Schulz loved drawing and sometimes drew his family dog, Spike, who ate unusual things, such as pins and tacks. In 1937, Schulz drew a picture of Spike and sent it to Ripley's Believe It or Not!; his drawing appeared in Robert Ripley's syndicated panel, captioned, "A hunting dog that eats pins, tacks, and razor blades is owned by C. F. Schulz, St. Paul, Minn." and "Drawn by 'Sparky'" (C.F. was his father, Carl Fred Schulz).
Schulz attended Richards Gordon Elementary School in Saint Paul, where he skipped two half-grades. He became a shy, timid teenager, perhaps as a result of being the youngest in his class at Central High School. One well-known episode in his high school life was the rejection of his drawings by his high school yearbook, which he referred to in Peanuts years later, when he had Lucy ask Charlie Brown to sign a picture he drew of a horse, only to then say it was a prank. A five-foot-tall statue of Snoopy was placed in the school's main office 60 years later.
Military service and post-war positions
In February 1943, Schulz's mother Dena died after a long illness. At the time of her death, he had only recently been made aware that she suffered from cancer. Schulz had by all accounts been very close to his mother and her death had a significant effect on him.
Around the same time, Schulz was drafted into the United States Army. He served as a staff sergeant with the 20th Armored Division in Europe during World War II, as a squad leader on a .50 caliber machine gun team. His unit saw combat only at the very end of the war. Schulz said he had only one opportunity to fire his machine gun but forgot to load it, and that the German soldier he could have fired at willingly surrendered. Years later, Schulz proudly spoke of his wartime service.
In late 1945, Schulz returned to Minneapolis. He did lettering for a Roman Catholic comic magazine, Timeless Topix, and in July 1946 took a job at Art Instruction, Inc., where he reviewed and graded students' work.: 164 Schulz had taken a correspondence course from the school before he was drafted. He worked at the school for several years as he developed his career as a comic creator.
Schulz's first group of regular cartoons, a weekly series of one-panel jokes called Li’l Folks, was published from June 1947 to January 1950 in the St. Paul Pioneer Press, with Schulz usually doing four one-panel drawings per issue. It was in Li'l Folks that Schulz first used the name Charlie Brown for a character, although he applied the name in four gags to three different boys as well as one buried in sand. The series also had a dog that looked much like Snoopy. In May 1948, Schulz sold his first one-panel drawing to The Saturday Evening Post; within the next two years, a total of 17 untitled drawings by Schulz were published in the Post, simultaneously with his work for the Pioneer Press. Around the same time, he tried to have Li'l Folks syndicated through the Newspaper Enterprise Association; Schulz would have been an independent contractor for the syndicate, unheard of in the 1940s, but the deal fell through. Li'l Folks was dropped from the Pioneer Press in January 1950.
Later that year, Schulz approached United Feature Syndicate with the one-panel series Li'l Folks, and the syndicate became interested. By that time Schulz had also developed a comic strip, usually using four panels rather than one, and to Schulz's delight, the syndicate preferred that version. Peanuts made its first appearance on October 2, 1950, in seven newspapers. The weekly Sunday page debuted on January 6, 1952. After a slow start, Peanuts eventually became one of the most popular comic strips of all time, as well as one of the most influential. Schulz also had a short-lived sports-oriented comic strip, It's Only a Game (1957–59), but he abandoned it after the success of Peanuts. From 1956 to 1965 he contributed a gag cartoon, Young Pillars, featuring teenagers, to Youth, a publication associated with the Church of God.
In 1957 and 1961 he illustrated two volumes of Art Linkletter's Kids Say the Darndest Things, and in 1964 a collection of letters, Dear President Johnson, by Bill Adler.
Main article: Peanuts
At its height, Peanuts was published daily in 2,600 papers in 75 countries, in 21 languages. Over nearly 50 years, Schulz drew 17,897 published Peanuts strips. The strips, plus merchandise and product endorsements, produced revenues of more than $1 billion per year, with Schulz earning an estimated $30 million to $40 million annually. During the strip's run, Schulz took only one vacation, a five-week break in late 1997 to celebrate his 75th birthday; reruns of the strip ran during his vacation, the only time that occurred during Schulz's life.
The first collection of Peanuts strips was published in July 1952 by Rinehart & Company. Many more books followed, greatly contributing to the strip's increasing popularity. In 2004, Fantagraphics began their Complete Peanuts series. Peanuts also proved popular in other media; the first animated TV special, A Charlie Brown Christmas, aired in December 1965 and won an Emmy award. Numerous TV specials followed, the latest being Happiness is a Warm Blanket, Charlie Brown in 2011. Until his death, Schulz wrote or co-wrote the TV specials and carefully oversaw their production.
Charlie Brown, the principal character of Peanuts, was named after a co-worker at Art Instruction Inc. Schulz drew much from his own life, some examples being:
- Like Charlie Brown's parents, Schulz's father was a barber and his mother a housewife.
- Like Charlie Brown, Schulz had often felt shy and withdrawn. In an interview with Charlie Rose in May 1997, Schulz observed, "I suppose there's a melancholy feeling in a lot of cartoonists, because cartooning, like all other humor, comes from bad things happening."
- Schulz reportedly had an intelligent dog when he was a boy. Although this dog was a pointer, not a beagle like Snoopy, family photos confirm a certain physical resemblance.
- References to Snoopy's brother Spike living outside of Needles, California, were influenced by the few years (1928–30) the Schulz family lived there; they moved to Needles to join other family members who had relocated from Minnesota to tend to an ill cousin.
- Schulz's inspiration for Charlie Brown's unrequited love for the Little Red-Haired Girl was Donna Mae Johnson, an Art Instruction Inc. accountant with whom he fell in love. When Schulz finally proposed to her in June 1950, shortly after he had made his first contract with his syndicate, she turned him down and married another man.
- Linus and Shermy were named for his good friends Linus Maurer and Sherman Plepler, respectively.
- Peppermint Patty was inspired by Patricia Swanson, one of his cousins on his mother's side. Schulz devised the character's name when he saw peppermint candies in his house.
The Charles M. Schulz Museum counts Milton Caniff (Terry and the Pirates) and Bill Mauldin as key influences on Schulz's work. In his own strip, Schulz regularly described Snoopy's annual Veterans Day visits with Mauldin, including mention of Mauldin's World War II cartoons. Schulz (and critics) also credited George Herriman (Krazy Kat), Roy Crane (Wash Tubbs), Elzie C. Segar (Thimble Theatre) and Percy Crosby (Skippy) as influences. In a 1994 address to fellow cartoonists, Schulz discussed several of them. But according to his biographer Rheta Grimsley Johnson:
It would be impossible to narrow down three or two or even one direct influence on [Schulz's] personal drawing style. The uniqueness of "Peanuts" has set it apart for years ... That one-of-a-kind quality permeates every aspect of the strip and very clearly extends to the drawing. It is purely his with no clear forerunners and no subsequent pretenders.
According to the museum, Schulz watched the movie Citizen Kane 40 times. The character Lucy van Pelt also expresses a fondness for the film, and in one strip she cruelly spoils the ending for her younger brother.
In April 1951, Schulz married Joyce Halverson (no relation to Schulz's mother Dena Halverson Schulz), and Schulz adopted Halverson's daughter, Meredith. Later the same year, they moved to Colorado Springs, Colorado. Their son, Monte, was born in February 1952, and three more children were born later, in Minnesota.
Schulz and his family returned to Minneapolis and stayed until 1958. They then moved to Sebastopol, California, where Schulz built his first studio. (Until then, he'd worked at home or in a small rented office room.) It was there that Schulz was interviewed for the unaired television documentary A Boy Named Charlie Brown. Some of the footage was eventually used in a later documentary, Charlie Brown and Charles Schulz. Schulz's father died while visiting him in 1966, the same year Schulz's Sebastopol studio burned down. By 1969, Schulz had moved to Santa Rosa, California, where he lived and worked until his death. While briefly living in Colorado Springs, Schulz painted a mural on the bedroom wall of his daughter Meredith, featuring Patty with a balloon, Charlie Brown jumping over a candlestick, and Snoopy playing on all fours. The wall was removed in 2001, donated and relocated to the Charles M. Schulz Museum in Santa Rosa.
By Thanksgiving 1970, it was clear that Schulz's marriage was in trouble. He was having an affair with a 25-year-old woman named Tracey Claudius. The Schulzes divorced in 1972, and in September 1973 he married Jean Forsyth Clyde, whom he had first met when she brought her daughter to his hockey rink. They were married for 27 years, until Schulz's death in 2000.
On Sunday, May 8, 1988, two gunmen in ski masks entered the Schulzes' home through an unlocked door, planning to kidnap Jean, but the attempt failed when Charles' daughter Jill drove up to the house, prompting the would-be kidnappers to flee. Jill called the police from a neighbor's house. Sonoma County Sheriff Dick Michaelsen said, "It was obviously an attempted kidnap-ransom. This was a targeted criminal act. They knew exactly who the victims were." Neither Schulz nor his wife were hurt during the incident.
Schulz had a long association with ice sports, and both figure skating and ice hockey featured prominently in his cartoons. In Santa Rosa, he owned the Redwood Empire Ice Arena, which opened in 1969 and featured a snack bar called "The Warm Puppy." Schulz's daughter Amy served as a model for the figure skating in the television special She's a Good Skate, Charlie Brown (1980). Schulz also was very active in senior ice-hockey tournaments; in 1975, he formed Snoopy's Senior World Hockey Tournament at his Redwood Empire Ice Arena, and in 1981, he was awarded the Lester Patrick Trophy for outstanding service to the sport of hockey in the United States. Schulz also enjoyed golf and was a member of the Santa Rosa Golf and Country Club from 1959 to 2000.
In 1998, Schulz hosted the first Over 75 Hockey Tournament. In 2000, the Ramsey County Board in St. Paul, Minnesota voted to rename the Highland Park Ice Arena the Charles M. Schulz–Highland Arena in his honor.
Schulz also used his hockey rink for tennis exhibitions after meeting Billie Jean King. Many tennis pros played in that rink including Roy Emerson.
In addition to comics, Schulz was interested in art in general; his favorite artist in his later years was Andrew Wyeth. As a young adult, Schulz also developed a passion for classical music. Although the character Schroeder in Peanuts adored Beethoven, Schulz's personal favorite composer was Brahms.
According to a 2015 "spiritual biography," Schulz's faith was complex and personal. He often touched on religious themes in his work including the classic television cartoon A Charlie Brown Christmas (1965), which features Linus quoting the King James Version of the BibleLuke 2:8–14 to explain "what Christmas is all about." In interviews Schulz said that Linus represented his spiritual side, and the spiritual biography points out a much wider array of religious references.
Reared in a nominally Lutheran family, Schulz was active in the Church of God as a young adult and later taught Sunday school at a United Methodist Church. In the 1960s, Robert L. Short interpreted certain themes and conversations in Peanuts as consistent with parts of Christian theology, and used them as illustrations in his lectures on the Gospel, as explained in his book The Gospel According to Peanuts, the first of several he wrote on religion, Peanuts, and popular culture.
From the late 1980s, Schulz said in interviews that some people had described him as a "secular humanist" but that he did not know one way or the other:
I do not go to church anymore ... I guess you might say I've come around to secular humanism, an obligation I believe all humans have to others and the world we live in.
In 2013, Schulz's widow said:
I think that he was a deeply thoughtful and spiritual man. Sparky was not the sort of person who would say "oh that's God's will" or "God will take care of it." I think to him that was an easy statement, and he thought that God was much more complicated.
When he came back from the army he was very lonely. His mother had died and he was invited to church by a pastor who had prepared his mother's service from the Church of God. Sparky's father was worried about him and was talking to the pastor and so the pastor invited Sparky to come to church. So Sparky went to church, joined the youth group and for a good 4–5 years he went to Bible study and went to church 3 times a week (2 Bible studies, 1 service). He said he had read the Bible through three times and taught Sunday school. He was always looking for what those passages REALLY might have meant. Some of his discussions with priests and ministers were so interesting because he wanted to find out what these people (who he thought were more educated than he) thought.
When he taught Sunday school, he would never tell people what to believe. God was very important to him, but in a very deep way, in a very mysterious way.
Failing health and retirement
In July 1981, Schulz underwent heart bypass surgery. During his hospital stay, President Ronald Reagan phoned to wish him a quick recovery.
In the 1980s, Schulz complained that "sometimes my hand shakes so much I have to hold my wrist to draw." This led to an erroneous impression that Schulz had Parkinson's disease. According to a letter from his physician, placed in the Archives of the Charles M. Schulz Museum by his widow, Schulz had essential tremor, a condition alleviated by beta blockers. Schulz still insisted on writing and drawing the strip by himself, resulting in noticeably shakier lines over time.
In November 1999, Schulz suffered several small strokes and a blocked aorta, and he was later found to have colon cancer that had metastasized. Because of the chemotherapy and that he could not see clearly, he announced his retirement on December 14, 1999. This was difficult for Schulz, who told Al Roker on The Today Show, "I never dreamed that this was what would happen to me. I always had the feeling that I would probably stay with the strip until I was in my early eighties. But all of a sudden it's gone. It's been taken away from me. I did not take this away from me."
Schulz was asked if, in his final Peanuts strip, Charlie Brown would finally get to kick the football after so many decades (one of the many recurring themes in Peanuts was Charlie Brown's attempts to kick a football while Lucy was holding it, only to have Lucy pull it back at the last moment, causing him to fall on his back). His response, "Oh, no. Definitely not. I couldn't have Charlie Brown kick that football; that would be a terrible disservice to him after nearly half a century." But in a December 1999 interview, holding back tears, Schulz recounted the moment when he signed his final strip, saying, "All of a sudden I thought, 'You know, that poor, poor kid, he never even got to kick the football. What a dirty trick—he never had a chance to kick the football.'"
Schulz died at his home on February 12, 2000, at the age of 77 of colon cancer. The last original Peanuts strip was published the following day. He had predicted that the strip would outlive him because the strips were usually drawn weeks before their publication. Schulz was buried at Pleasant Hills Cemetery in Sebastopol, California.
Schulz was honored on May 27, 2000, by cartoonists of more than 100 comic strips, who paid homage to him and Peanuts by incorporating his characters into their strips that day.
While United Features retained ownership of the strip, Schulz requested the syndicator allow no other artist to draw Peanuts. United Features honored his wishes, instead syndicating reruns. Because Schulz considered the TV shows separate from the strip, new television specials with the Peanuts characters have been made since his death.
Schulz received the National Cartoonists Society's Humor Comic Strip Award in 1962 for Peanuts, the Society's Elzie Segar Award in 1980, and was also the first two-time winner of their Reuben Award for 1955 and 1964, and their Milton Caniff Lifetime Achievement Award in 1999. He was also an avid hockey fan; in 1981, Schulz was awarded the Lester Patrick Trophy for outstanding contributions to the sport of hockey in the United States, and he was inducted into the United States Hockey Hall of Fame in 1993. On June 28, 1996, Schulz was honored with a star on the Hollywood Walk of Fame, adjacent to Walt Disney's. A replica of this star appears outside his former studio in Santa Rosa. Schulz is a recipient of the Silver Buffalo Award, the highest adult award given by the Boy Scouts of America, for his service to American youth.
On January 1, 1974, Schulz served as the Grand Marshal of the Rose Parade in Pasadena, California. The same year, he received the Inkpot Award. In 1980, Schulz received the Golden Plate Award of the American Academy of Achievement presented by Awards Council member Judge John Sirica.
Schulz was a keen bridge player, and Peanuts occasionally included bridge references. In 1997, according to Alan Truscott, the American Contract Bridge League (ACBL), awarded both Snoopy and Woodstock the honorary rank of Life Master, and Schulz was delighted. According to the ACBL, only Snoopy was awarded the honor.
On February 10, 2000, two days before Schulz's death, Congressman Mike Thompson introduced H.R. 3642, a bill to award Schulz the Congressional Gold Medal, the highest civilian honor the United States legislature can bestow. The bill passed the House (with only Ron Paul voting no and 24 not voting) on February 15, and the bill was sent to the Senate where it passed unanimously on May 2. The Senate also considered the related bill, S.2060 (introduced by Dianne Feinstein). President Bill Clinton signed the bill into law on June 20, 2000. On June 7, 2001, Schulz's widow Jean accepted the award on behalf of her late husband in a public ceremony.
Schulz was inducted into the United States Figure Skating Hall of Fame in 2007.
Schulz was the inaugural recipient of The Harvey Kurtzman Hall of Fame Award, accepted by Karen Johnson, Director of the Charles M. Schulz Museum, at the 2014 Harvey Awards held at the Baltimore Comic Convention in Baltimore, Maryland.
Military awards and decorations
Multiple biographies have been written about Schulz, including Rheta Grimsley Johnson's Good Grief: The Story of Charles M. Schulz (1989), which Schulz authorized.
The lengthiest biography, Schulz and Peanuts: A Biography (2007) by David Michaelis, has been heavily criticized by the Schulz family; Schulz's son Monte stated it has "a number of factual errors throughout ... [including] factual errors of interpretation" and extensively documents these errors in a number of essays. However, Michaelis maintains that there is "no question" his work is accurate. Although cartoonist Bill Watterson (creator of Calvin and Hobbes) feels the biography does justice to Schulz's legacy, while giving insight into the emotional impetus of the creation of the strips, cartoonist and critic R.C. Harvey regards the book as falling short both in describing Schulz as a cartoonist and in fulfilling Michaelis' stated aim of "understanding how Charles Schulz knew the world"; Harvey feels the biography bends the facts to a thesis rather than evoking a thesis from the facts. Dan Shanahan's review, in the American Book Review (vol 29, no. 6), of Michaelis' biography faults the biography not for factual errors, but for "a predisposition" to finding problems in Schulz's life to explain his art, regardless of how little the material lends itself to Michaelis' interpretations. Shanahan cites, in particular, such things as Michaelis' crude characterizations of Schulz's mother's family, and "an almost voyeuristic quality" to the hundred pages devoted to the breakup of Schulz's first marriage.
In light of Michaelis' biography and the controversy surrounding his interpretation of the personality who was Charles Schulz, responses from Schulz's family reveal some intimate knowledge about the Schulz's persona beyond that of mere artist.
A proponent of manned spaceflight, Schulz was honored with the naming of Apollo 10command moduleCharlie Brown and Lunar ModuleSnoopy, launched on May 18, 1969. The Silver Snoopy award is a special honor awarded to NASA employees and contractors for outstanding achievements related to human flight safety or mission success. The award certificate states that it is "In Appreciation" "For professionalism, dedication and outstanding support that greatly enhanced space flight safety and mission success."
On July 1, 1983, Camp Snoopy opened at Knott's Berry Farm; it is a forested, mountain-themed area featuring the Peanuts characters. It has rides designed for younger children and is one of the most popular areas of the amusement park.
When the Mall of America in Bloomington, Minnesota, opened in 1992, the amusement park in the center had a Peanuts theme until 2006, when the mall lost the rights to use the characters.
The Jean and Charles Schulz Information Center at Sonoma State University opened in 2000 and now stands as one of the largest buildings in the CSU system and the State of California, with a 400,000-volume general collection and with a 750,000-volume automated retrieval system capacity. The $41.5 million building was named after Schulz, and his wife donated the $5 million needed to build and furnish the structure.
In 2000, the Sonoma County Board of Supervisors renamed the county airport as the Charles M. Schulz–Sonoma County Airport in the cartoonist's honor. The airport's logo features Snoopy in goggles and scarf, taking to the skies on top of his red doghouse.
Peanuts on Parade has been St. Paul, Minnesota's tribute to its favorite native cartoonist. It began in 2000 with the placing of 101 5-foot-tall (1.5 m) statues of Snoopy throughout the city of St. Paul. Every summer for the following four years, statues of a different Peanuts character were placed on the sidewalks of St. Paul. In 2001, there was Charlie Brown Around Town, 2002 brought Looking for Lucy, in 2003 along came Linus Blankets St. Paul, ending in 2004 with Snoopy lying on his doghouse. The statues were auctioned off at the end of each summer, so some remain around the city, but others have been relocated. The auction proceeds were used for artist's scholarships and for permanent, bronze statues of the Peanuts characters. These bronze statues are in Landmark Plaza and Rice Park in downtown St. Paul.
The Charles M. Schulz Museum and Research Center in Santa Rosa opened on August 17, 2002, two blocks away from his former studio, celebrating his life's work and the art of cartooning. A bronze statue of Charlie Brown and Snoopy stands in Depot Park in downtown Santa Rosa.
Santa Rosa, California, celebrated the 60th anniversary of the strip in 2005 by continuing the Peanuts on Parade tradition beginning with It's Your Town, Charlie Brown (2005), Summer of Woodstock (2006), Snoopy's Joe Cool Summer (2007), and Look Out For Lucy (2008).
In 2006, Forbes ranked Schulz as the third-highest-earning deceased celebrity, as he had earned $35 million in the previous year. In 2009, he was ranked sixth. According to Tod Benoit, in his book Where Are They Buried? How Did They Die?, Charles M. Schulz's income during his lifetime totaled more than $1.1 billion.
Calvin and Hobbes creator Bill Watterson wrote in 2007: "Peanuts pretty much defines the modern comic strip, so even now it's hard to see it with fresh eyes. The clean, minimalist drawings, the sarcastic humor, the unflinching emotional honesty, the inner thoughts of a household pet, the serious treatment of children, the wild fantasies, the merchandising on an enormous scale – in countless ways, Schulz blazed the wide trail that most every cartoonist since has tried to follow."
Schulz's Santa Rosa home was completely destroyed during the October 2017 wildfires in California.
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SANTA ROSA — The widow of the late Charles Schulz, creator of the iconic Peanuts comic strip, escaped the fire racing through Santa Rosa this week, but the hillside home the couple shared since the mid-1970s was destroyed, according to family members.
Related ArticlesJean Schulz fled her home at about 2 a.m. Monday and is now staying with family, her stepson, Monte Schulz of Santa Barbara, said Wednesday.
“She is very resilient,” he said. “She is energetic and pragmatic and very tough.”
Jean Schulz is president of the board of directors for the Charles M. Schulz Museum and Research Center built in Santa Rosa two years after the cartoonist’s death in 2000. Most of his collection of original comic strips, artwork and memorabilia featuring characters Charlie Brown, Snoopy and the rest of the Peanuts Gang, is housed at the museum, which was untouched by the fire.Have a comment about this? Join the conversation on the East Bay Times Facebook page.
“But there were a lot of Peanuts things in the house,” Monte Schulz said.
His father rarely worked from home — preferring instead to go to his studio in town.
“But he had a study with a drawing table if he wanted to do anything,” at the house, Schulz said. “Obviously that’s all gone. Everything’s gone.”
By Thursday, the wind-driven fires raging through several counties north of San Francisco, including Sonoma, Napa and Mendocino, had claimed 23 lives and wiped out thousands of homes and structures, including wineries, resorts and whole neighborhoods.
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The fire affected other members of the Schulz family, as well. Monte’s brother, Craig Schulz, who lives in Santa Rosa with his family, also lost his house in the fire.
“The fire went so fast,” Monte Schulz said, “I don’t think anybody anywhere got anything out.”
Santa Rosa, a city of 175,000, embraced the world famous cartoonist — who lived in the county for more than 40 years — and likes to consider itself the “hometown” of the Peanuts Gang. The Sonoma County airport is named after him, with its logo an image of Snoopy flying on his dog house. Bronze sculptures of Charlie Brown and Linus welcome travelers and the information booth there looks like “Lucy’s” psychiatric booth: “Airport help: 5 cents.”
Schultz apparently never wanted any statues of himself, but agreed to sculptures of his characters, which are planted around town. Downtown Santa Rosa, the home of several statues, was unaffected by the fire.
Before his death, the Peanuts comic strip appeared in 2,600 newspapers in 75 countries.
Charles Schulz was born in Minneapolis and moved his first wife and family to Sonoma County in 1958, building a house and studio in Sebastopol. He and his second-wife, Jean Schulz, built the house in the hills on the eastern side of Santa Rosa in the mid-1970s. He was 77 when he died of cancer on Feb. 12, 2000, at home.Reading this on your phone? Stay up to date with our free mobile app. Get it from the Apple app store or the Google Play store.
“It’s sad. It’s erased,” Monte Schulz said of the house. “Everything that was in there, every connection we had to dad vis a vis that house, is gone now.”
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