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Or the inverse of that, where you have characters in the same place and move the background around. We quite mercilessly stole the wonderful techniques Harvey Kurtzman had invented in Mad.
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Fox , "When did you really know you'd made it in show business? That said everything. I still feel extremely inadequate when I look at the old Mad comics. When Weird Al Yankovic was asked whether Mad had had any influence in putting him on a road to a career in parody, the musician replied, "[It was] more like going off a cliff.
It was like, you don't have to buy it. You can say 'This is stupid. This is stupid. Critic Roger Ebert wrote:. I learned to be a movie critic by reading Mad magazine Mad ' s parodies made me aware of the machine inside the skin—of the way a movie might look original on the outside, while inside it was just recycling the same old dumb formulas. I did not read the magazine, I plundered it for clues to the universe.
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Pauline Kael lost it at the movies ; I lost it at Mad magazine. Rock singer Patti Smith said more succinctly, "After Mad , drugs were nothing. Mad is known for many regular and semi-regular recurring features in its pages, including " Spy vs. The magazine has also included recurring gags and references, both visual e. The image most closely associated with the magazine is that of Alfred E. Neuman , the boy with misaligned eyes, a gap-toothed smile, and the perennial motto "What, me worry?
Mad initially used the boy's face in November His first iconic full-cover appearance was as a write-in candidate for President on issue 30 December , in which he was identified by name and sported his "What, me worry? He has since appeared in a slew of guises and comic situations. According to Mad writer Frank Jacobs, a letter was once successfully delivered to the magazine through the U.
The magazine has been involved in various legal actions over the decades, some of which have reached the United States Supreme Court. The most far-reaching was Irving Berlin et al. Publications, Inc. The publishing group hoped to establish a legal precedent that only a song's composers retained the right to parody that song.
Judge Charles Metzner of U. District Court for the Southern District of New York ruled largely in favor of Mad in , affirming its right to print 23 of the 25 song parodies under dispute. However, in the case of two parodies, "Always" sung to the tune of " Always " and "There's No Business Like No Business" sung to the tune of " There's No Business Like Show Business " , Judge Metzner decided that the issue of copyright infringement was closer, requiring a trial because in each case the parodies relied on the same verbal hooks "always" and "business" as the originals.
The music publishers appealed the ruling, but the U.
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Court of Appeals not only upheld the pro- Mad decision in regard to the 23 songs, it adopted an approach that was broad enough to strip the publishers of their limited victory regarding the remaining two songs. Writing a unanimous opinion for the United States Court of Appeals for the Second Circuit , Circuit Judge Irving Kaufman observed, "We doubt that even so eminent a composer as plaintiff Irving Berlin should be permitted to claim a property interest in iambic pentameter.
This precedent-setting ruling established the rights of parodists and satirists to mimic the meter of popular songs. However, the "Sing Along With Mad " songbook was not the magazine's first venture into musical parody. In , a series of copyright infringement lawsuits against the magazine regarding ownership of the Alfred E. Neuman image eventually reached the appellate level. Although Harry Stuff had copyrighted the image in , the U. Court of Appeals for the Second Circuit ruled that, by allowing many copies of the image to circulate without any copyright notice, the owner of the copyright had allowed the image to pass into the public domain, thus establishing the right of Mad —or anyone else for that matter—to use the image.
In addition, Mad established that Stuff was not himself the creator of the image by producing numerous other examples dating back to the late 19th century. This decision was also allowed to stand. Other legal disputes were settled more easily. Following the magazine's parody of the film The Empire Strikes Back , a letter from George Lucas 's lawyers arrived in Mad' s offices demanding that the issue be recalled for infringement on copyrighted figures.
The letter further demanded that the printing plates be destroyed, and that Lucasfilm must receive all revenue from the issue plus additional punitive damages. Said DeBartolo, "We never heard from them again. Mad was one of several parties that filed amicus curiae briefs with the Supreme Court in support of 2 Live Crew and its disputed song parody, during the Campbell v. Acuff-Rose Music, Inc. Mad was long noted for its absence of advertising, enabling it to satirize materialist culture without fear of reprisal.
For decades, it was the most successful American magazine to publish ad-free, [59] beginning with issue 33 April and continuing through issue February As a comic book, Mad had run the same advertisements as the rest of EC's line. The magazine later made a deal with Moxie soda that involved inserting the Moxie logo into various articles. Mad ran a limited number of ads in its first two years as a magazine, helpfully labeled "real advertisement" to differentiate the real from the parodies. The last authentic ad published under the original Mad regime was for Famous Artists School ; two issues later, the inside front cover of issue 34 had a parody of the same ad.
After this transitional period, the only promotions to appear in Mad for decades were house ads for Mad' s own books and specials, subscriptions, and promotional items such as ceramic busts, T-shirts, or a line of Mad jewelry. This rule was bent only a few times to promote outside products directly related to the magazine, such as Parker Brothers Mad Board Game , the video game based on Spy vs.
Spy , and the notorious Up the Academy movie which the magazine later disowned. Mad explicitly promised that it would never make its mailing list available. Both Kurtzman and Feldstein wanted the magazine to solicit advertising, feeling this could be accomplished without compromising Mad' s content or editorial independence. Kurtzman remembered Ballyhoo , a boisterous s humor publication that made an editorial point of mocking its own sponsors. Feldstein went so far as to propose an in-house Mad ad agency, and produced a "dummy" copy of what an issue with ads could look like. But Bill Gaines was intractable, telling the television news magazine 60 Minutes , "We long ago decided we couldn't take money from Pepsi-Cola and make fun of Coca-Cola.
We'd have to improve our package.
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Most advertisers want to appear in a magazine that's loaded with color and has super-slick paper. So you find yourself being pushed into producing a more expensive package. You get bigger and fancier and attract more advertisers. Then you find you're losing some of your advertisers. Your readers still expect the fancy package, so you keep putting it out, but now you don't have your advertising income, which is why you got fancier in the first place—and now you're sunk.
Mad has provided an ongoing showcase for many long-running satirical writers and artists and has fostered an unusual group loyalty. Although several of the contributors earn far more than their Mad pay in fields such as television and advertising, they have steadily continued to provide material for the publication.
In several cases, only infirmity or death has ended a contributor's run at Mad. Within the industry, Mad was known for the uncommonly prompt manner in which its contributors were paid. Publisher Gaines would typically write a personal check and give it to the artist upon receipt of the finished product. Wally Wood said, "I got spoiled Other publishers don't do that. I started to get upset if I had to wait a whole week for my check. The editorial staff was automatically invited, along with freelancers who had qualified for an invitation by selling a set number of articles or pages during the previous year.
Gaines was strict about enforcing this quota, and one year, longtime writer and frequent traveller Arnie Kogen was bumped off the list. Later that year, Gaines' mother died, and Kogen was asked if he would be attending the funeral.
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Although Mad was an exclusively freelance publication, it achieved a remarkable stability, with numerous contributors remaining prominent for decades. Proclaiming the precise moment that purportedly triggered the magazine's irreversible decline is a common pastime [ citation needed ]. Among the most frequently cited "downward turning points" are: creator-editor Harvey Kurtzman's departure in ; [62] the magazine's mainstream success; [29] adoption of recurring features starting in the early s; [63] the magazine's absorption into a more corporate structure in or later, the mids ; [64] founder Gaines' death in ; [64] the magazine's publicized "edgy revamp" in ; [65] the arrival of paid advertising in ; [66] or the magazine's move to California.
Mad has been criticized [ citation needed ] for its over-reliance on a core group of aging regulars throughout the s and s, and then criticized again [ citation needed ] for an alleged downturn as those same creators began to leave, die, retire, or contribute less frequently. It has been proposed that Mad is more susceptible to this criticism than many media because a sizable percentage of its readership turns over regularly as it ages, as Mad focuses greatly on current events and a changing popular culture.
And many people say 'I used to read Mad , but Mad has changed a lot. You have new interests. The change doesn't come from the magazine, it comes from the people who grow or don't grow. On December 11, the first-ever letter complaining that Mad 'just isn't as funny and original like it used to be' arrives.
Among the loudest of those who insist the magazine is no longer funny are supporters of Harvey Kurtzman , who had the good critical fortune to leave Mad after just 28 issues, before his own formulaic tendencies might have become obtrusive. This also meant Kurtzman suffered the bad creative and financial timing of departing before the magazine became a runaway success. However, just how much of that success was due to the original Kurtzman template that he left for his successor, and how much should be credited to the Al Feldstein system and the depth of the post-Kurtzman talent pool, can be argued without resolution.
In , an interviewer proposed to Al Jaffee , "There's a group of Mad aficionados who feel that if Harvey Kurtzman had stayed at Mad , the magazine would not only have been different, but better. Feldstein was less well regarded creatively, but kept the magazine on a regular schedule, leading to decades of success. Kurtzman and Will Elder returned to Mad for a short time in the mids as an illustrating team.
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The magazine's sales peak came with issue September , which sold 2. That period coincided with several other magazines' sales peaks, including TV Guide and Playboy. Mad ' s circulation dropped below one million for the first time in Many of the magazine's mainstays began retiring or dying by the s. On April 1, , the magazine publicized an alleged "revamp", ostensibly designed to reach an older, more sophisticated readership. However, Salon 's David Futrelle opined that such content was very much a part of Mad ' s past:.
The October issue, for example, with its war crimes fold-in and back cover "mini-poster" of "The Four Horsemen of the Metropolis" Drugs, Graft, Pollution and Slums. With its Mad Pollution Primer. I remember this issue pretty well; it was one of the ones I picked up at a garage sale and read to death.