But he never said goodbye!

But he never said goodbye!

AUGH!

AUGH!

You're not wrong, Pancakey. In the world of Charles Schulz, "vehement dislike" kind of works out to "mildly bemused head-shaking" anyway. Woodstock, I can't help but notice, does end up cutting his hair, shedding all connection to the "movement" sans name, and turning into the comma-spewing sight gag we all know and…

You're not wrong, Pancakey. In the world of Charles Schulz, "vehement dislike" kind of works out to "mildly bemused head-shaking" anyway. Woodstock, I can't help but notice, does end up cutting his hair, shedding all connection to the "movement" sans name, and turning into the comma-spewing sight gag we all know and…

A little theory pedantry is always welcome. You are, of course, correct. It's the combination of all those dangling 7s, the way the chords resolve, and the effusive melancholia that is Charlie Brown that leaves listeners with that "minor key" impression.

A little theory pedantry is always welcome. You are, of course, correct. It's the combination of all those dangling 7s, the way the chords resolve, and the effusive melancholia that is Charlie Brown that leaves listeners with that "minor key" impression.

Damn. That's too good to not be true.

Damn. That's too good to not be true.

I remember reading somewhere once that Schulz far preferred Bach and Chopin to Beethoven, and actually derided what he saw as Beethoven zealots minimizing the accomplishments of other composers. Going back through the strips, you find a far more vehement dislike of hippie culture and rock and roll than jazz.

I remember reading somewhere once that Schulz far preferred Bach and Chopin to Beethoven, and actually derided what he saw as Beethoven zealots minimizing the accomplishments of other composers. Going back through the strips, you find a far more vehement dislike of hippie culture and rock and roll than jazz.

When the songs break down into solo choruses, their jazz colors shine through, but the melodic "heads" of "Christmastime is Here" and "Skating" are every bit as formalized and structurally conservative as the classical works Schulz pined for.

When the songs break down into solo choruses, their jazz colors shine through, but the melodic "heads" of "Christmastime is Here" and "Skating" are every bit as formalized and structurally conservative as the classical works Schulz pined for.

@avclub-a80fcd777df4edacea4dd9e20f8730e4:disqus But he has to know where they are! I mean, I was out in drublic the last time I saw them!

@avclub-a80fcd777df4edacea4dd9e20f8730e4:disqus But he has to know where they are! I mean, I was out in drublic the last time I saw them!

@avclub-78c86aa171e1ab86948a7e10c471fc63:disqus Fat Mike is a transsexual? Here I thought the "taking it back" argument was only valid if you were a member of the marginalized group the pejorative referred to.

@avclub-78c86aa171e1ab86948a7e10c471fc63:disqus Fat Mike is a transsexual? Here I thought the "taking it back" argument was only valid if you were a member of the marginalized group the pejorative referred to.

Strange as it sounds, it's not the "fucking freak" part I find objectionable. I'm sure all of it was intended with affection by Fat Mike. It doesn't change the fact that "tranny" is a pejorative.

Strange as it sounds, it's not the "fucking freak" part I find objectionable. I'm sure all of it was intended with affection by Fat Mike. It doesn't change the fact that "tranny" is a pejorative.