MAD America
by Matthew B.
The 1950s was a period in America’s history that was dominated by multi-media entertainment. While many forms of entertainment stood at the the forefront of this rise in multi-media, comic books and graphic novels quickly grew to become one of the most important outlets for personal entertainment and creativity. There were many comic books distributed during this era. One comic in particular created a whole legacy of its own: it was MAD magazine. Created by Harvey Kurtzman and produced by William Gaines, the inheritor of Entertainment Comics, MAD magazine hit the shelves of stores nationwide in early October of 1952 (Comics as Culture, 117). The issues covered by MAD magazine drew upon many aspects of American culture. The topics covered in the magazine included local and global politics, as well as a major focus on the entertainment industry.
During the early years of its publication, MAD magazine nearly fell victim to the mass censorship that washed over American culture. This restriction on American media was largely due to the “Red Scare.” An investigation by one of Joe McCarthy’s notable counterparts, Estes Kefauver, (who is considered to be the “Joe McCarthy of comics”), attacked the comic industry with the notion that comic books had a direct correlation with the juvenile delinquency in America. In light of these allegations, Gaines decided to take his comic book in a new direction, creating the century’s, “most influential humor magazine” (Comic as culture, 117-8).
In the following years, the magazine’s reader base grew, not from advertisement but by word of mouth. The magazine did not accept advertising, nor did it advertise itself. It simply relied on support from other facets of the media, such as Morley Safer at 60 Minutes (Good Days and MAD days, 106). Regis Philbin and Kathie Lee Gifford also showed the new issue each month on their morning television show (Good Days and MAD days, 108).
Although MAD magazine’s success continued to grow, Kurtzman left the comic book after only 23 issues, due to an altercation with Gaines. Kurtzman did not come back until 1985, thirty one years later. Once he decided to return, he worked only as an artist and never returned to editing the magazine. He passed on in early 1993. In his wake he left behind hundreds of inspired artists and writers (Visual Celebration 22-27).
Forty-three years after Mad’s conception, Fox Television and Entertainment created the late night Saturday comedy sketch, MAD TV. As the offspring of such an influential and entertaining part of America’s literary history, MAD TV has been running strong for eleven seasons. It is well known around the globe for its, “sharp parodies of film, TV and music”. The show has been nominated for many Emmy Awards and has won several times (Madtv.com).
Through its use of political satire and parodies of subjects not considered proper for young readers, MAD magazine created a whole new genre. It has enchanted its readers world-wide, with clever, offbeat and comical means of literary entertainment. Mad has stood the test of time, it has fought the good fight, and through absurdity and outlandish humor has created a place for itself in America’s history.
Sources:
1.)Inge, Thomas. Comics as Culture. University Press of Mississippi: Jackson And London, 1990.
2.)Evanier, Mark. A Visual Celebration of the Art of MAD Magazine and the Idiots Who Create It. Watson-Guptill Publications/ New York, 2002.
3.)DeBartolo, Dick. Good Days and Mad Days. Thunder’s Mouth Press/ New York, 1994.
4.) www.madtv.com
The 1950s was a period in America’s history that was dominated by multi-media entertainment. While many forms of entertainment stood at the the forefront of this rise in multi-media, comic books and graphic novels quickly grew to become one of the most important outlets for personal entertainment and creativity. There were many comic books distributed during this era. One comic in particular created a whole legacy of its own: it was MAD magazine. Created by Harvey Kurtzman and produced by William Gaines, the inheritor of Entertainment Comics, MAD magazine hit the shelves of stores nationwide in early October of 1952 (Comics as Culture, 117). The issues covered by MAD magazine drew upon many aspects of American culture. The topics covered in the magazine included local and global politics, as well as a major focus on the entertainment industry.
During the early years of its publication, MAD magazine nearly fell victim to the mass censorship that washed over American culture. This restriction on American media was largely due to the “Red Scare.” An investigation by one of Joe McCarthy’s notable counterparts, Estes Kefauver, (who is considered to be the “Joe McCarthy of comics”), attacked the comic industry with the notion that comic books had a direct correlation with the juvenile delinquency in America. In light of these allegations, Gaines decided to take his comic book in a new direction, creating the century’s, “most influential humor magazine” (Comic as culture, 117-8).
In the following years, the magazine’s reader base grew, not from advertisement but by word of mouth. The magazine did not accept advertising, nor did it advertise itself. It simply relied on support from other facets of the media, such as Morley Safer at 60 Minutes (Good Days and MAD days, 106). Regis Philbin and Kathie Lee Gifford also showed the new issue each month on their morning television show (Good Days and MAD days, 108).
Although MAD magazine’s success continued to grow, Kurtzman left the comic book after only 23 issues, due to an altercation with Gaines. Kurtzman did not come back until 1985, thirty one years later. Once he decided to return, he worked only as an artist and never returned to editing the magazine. He passed on in early 1993. In his wake he left behind hundreds of inspired artists and writers (Visual Celebration 22-27).
Forty-three years after Mad’s conception, Fox Television and Entertainment created the late night Saturday comedy sketch, MAD TV. As the offspring of such an influential and entertaining part of America’s literary history, MAD TV has been running strong for eleven seasons. It is well known around the globe for its, “sharp parodies of film, TV and music”. The show has been nominated for many Emmy Awards and has won several times (Madtv.com).
Through its use of political satire and parodies of subjects not considered proper for young readers, MAD magazine created a whole new genre. It has enchanted its readers world-wide, with clever, offbeat and comical means of literary entertainment. Mad has stood the test of time, it has fought the good fight, and through absurdity and outlandish humor has created a place for itself in America’s history.
Sources:
1.)Inge, Thomas. Comics as Culture. University Press of Mississippi: Jackson And London, 1990.
2.)Evanier, Mark. A Visual Celebration of the Art of MAD Magazine and the Idiots Who Create It. Watson-Guptill Publications/ New York, 2002.
3.)DeBartolo, Dick. Good Days and Mad Days. Thunder’s Mouth Press/ New York, 1994.
4.) www.madtv.com
posted by Leslie Madsen-Brooks at 10/31/2006 10:15:00 PM
2 Comments:
I think that the advertising factor for this magazine is such an interesting concept. It is so contradictory to the way things are advertised now. We are hit with billboards, ads in magazines, flyers, etc constantly advertising the latest and greatest magazine, movie, or other product. To rely completely upon word of mouth says a lot about their faith in the American public and their product.
My Grandpa used to talk about MAD magazine and how funny it was. He showed me a magazine when I was little (maybe too little) and I have loved it ever since. I no longer read the magazine, but I still enjoy MADTV reruns on comedy central. It’s funny how a comic book becomes a vehicle through which a man can pass culture down to his grandson.
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