History of Mad Magazine

Mad Magazine, a long-running satirical publication, has been a significant force in American pop culture, known for its irreverent humor,…

By Staff , in News media , at September 13, 2024 Tags: 1952, magazines

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Mad Magazine, a long-running satirical publication, has been a significant force in American pop culture, known for its irreverent humor, biting satire, and influence on comedy and media criticism. Founded in 1952, it became an iconic platform that skewered politics, popular culture, consumerism, and entertainment with a sharp, humorous edge. Over the years, Mad influenced generations of comedians, cartoonists, and satirists.

Founding and Early Years (1952–1955)
Founders: Harvey Kurtzman and William Gaines:
Mad Magazine was created by Harvey Kurtzman and William Gaines, two influential figures in comic book publishing. Kurtzman was a comic book artist and writer, while Gaines was the publisher of EC Comics, which was known for its horror, crime, and science fiction titles.
In 1952, Mad started as a comic book under EC Comics. The first issue, titled Tales Calculated to Drive You Mad, was edited by Kurtzman, and it featured a mix of satirical stories and parodies of popular comic strips, movies, and culture.
The magazine’s early format consisted of comic-book-style stories and artwork, often lampooning comic book genres such as westerns, science fiction, and detective stories.

Harvey Kurtzman’s Influence:
Harvey Kurtzman was the driving creative force behind Mad in its early years. His sharp wit and attention to detail helped define Mad’s distinct style of satire, which was both intelligent and irreverent.
Kurtzman insisted on complete control over the content, and his vision was central to the magazine’s success in its formative years. He encouraged a style of humor that was subversive and challenged societal norms, making fun of authority figures, media, and consumer culture.

Transformation into a Magazine (1955)
Change to Magazine Format:
In 1955, after 23 issues as a comic book, Mad transitioned to a magazine format. This change was largely due to the growing controversy around comic books and the establishment of the Comics Code Authority, which imposed censorship on comic book content. As a magazine, Mad was able to avoid these restrictions and continue its edgy and uncensored content.
The switch to magazine format marked a turning point for Mad, expanding its audience beyond just comic book readers to include teenagers and adults.

Al Feldstein Takes Over as Editor:
In 1956, Harvey Kurtzman left Mad due to creative differences with William Gaines, and Al Feldstein, another prominent figure from EC Comics, took over as editor. Feldstein would remain editor for nearly 30 years, overseeing Mad during its most successful period.
Under Feldstein’s leadership, Mad became even more focused on parodying American life, targeting politics, advertising, television, movies, and consumer culture. The magazine’s humor became more aggressive, often reflecting the social and political changes of the 1960s and 1970s.

The 1960s and 1970s: Peak Popularity
Satirical Edge and Influence:
During the 1960s, Mad reached its cultural peak, with circulation numbers growing steadily. The magazine became a cultural touchstone for the Baby Boomer generation, with its irreverent take on authority, corporate America, and social mores. The 1960s counterculture movement embraced Mad’s anti-establishment tone.
Mad’s signature feature was its parody of movies, television shows, and advertisements. It skewered popular culture, critiquing everything from political figures like Richard Nixon to television programs like Star Trek and Gilligan’s Island.
The magazine became known for its fold-in back covers, a feature introduced in 1964 by cartoonist Al Jaffee. This interactive element became a beloved part of the magazine’s legacy, offering readers a humorous twist with a hidden message or image when the page was folded.

Iconic Characters and Artists:
One of Mad’s most enduring symbols is Alfred E. Neuman, a gap-toothed, freckle-faced character with a goofy grin and the tagline “What, me worry?”. Neuman became the magazine’s mascot and cover star, symbolizing Mad’s carefree, satirical attitude.
Don Martin, known as Mad’s “maddest artist,” contributed his unique brand of slapstick humor through cartoon strips, often featuring exaggerated characters with odd names.
Sergio Aragonés was famous for his marginal cartoons—small doodles and jokes drawn in the margins of Mad’s pages, adding a playful, spontaneous element to the magazine.
Other key contributors included Dave Berg, who satirized middle-class American life with his “The Lighter Side of…” series, and Mort Drucker, whose caricatures of celebrities and public figures were a staple of Mad’s movie and television parodies.
Mocking Pop Culture: One of the magazine’s trademarks was its movie parodies, where it would lampoon major Hollywood films with clever and biting humor. Films like Jaws, The Godfather, and Star Wars were among those famously parodied by Mad, making it a must-read for fans of pop culture satire.

The 1980s and 1990s: Shifting Times
Decline in Circulation:
As the 1980s and 1990s progressed, Mad faced increased competition from new forms of entertainment, including television, video games, and the rise of alternative comic books like The Simpsons and South Park, both of which were inspired by Mad’s style of humor.
Despite this, Mad continued to publish content relevant to the times, poking fun at political leaders like Ronald Reagan, George H.W. Bush, and Bill Clinton, and mocking popular TV shows like Friends and The X-Files.
MADtv: In 1995, Mad’s influence extended into television with the launch of MADtv, a sketch comedy show loosely inspired by the magazine’s irreverent humor. While it did not directly adapt the magazine’s content, the show carried on its satirical legacy by parodying pop culture, politics, and entertainment. MADtv ran for 15 seasons and became a popular rival to Saturday Night Live.

Al Feldstein Retires (1984): Al Feldstein retired as editor in 1984, having led Mad through its most successful era. After Feldstein’s departure, the magazine saw a gradual decline in readership, but it remained a beloved fixture of American satire.

The 2000s and Beyond: Digital Age and Final Years
Digital Challenges:
Like many print publications, Mad faced significant challenges in the digital age as magazine readership declined and online content became more dominant. The magazine struggled to adapt to the changing media landscape, despite introducing a website and experimenting with digital content.
In 2001, Mad reduced its publication frequency from monthly to eight issues per year, signaling financial struggles amid a rapidly changing publishing industry.

2000s and 2010s Content:
Mad’s satire continued to evolve with the times, focusing on political and cultural issues, from the presidency of George W. Bush to the rise of social media and reality television. Its critiques of consumerism, politics, and pop culture remained a constant throughout its history.
Ownership Changes: Mad underwent several changes in ownership during its later years. In 1961, William Gaines sold Mad to Kinney National Company, which eventually became part of Warner Communications. In the 2000s, Mad was published under DC Comics, a subsidiary of Warner Bros. Entertainment.

Mad Magazine Ends Regular Publication (2019): In 2019, after 67 years, Mad announced it would cease publishing new content in its regular format, instead focusing on reprints of classic material. While the magazine continues to publish occasional special editions, the end of its regular publication marked the end of an era in American satire.

Legacy and Impact
Cultural Influence: Mad’s influence on American comedy and satire is immeasurable. It inspired generations of comedians, writers, and artists, including Weird Al Yankovic, Stephen Colbert, Trey Parker, and Matt Groening, who have all cited Mad as a major influence on their work.

Challenging Authority: Throughout its history, Mad challenged authority figures, political leaders, and corporate culture, encouraging readers to question the status quo. It pioneered the kind of satire that mocked television, advertisements, movies, and the media, helping to shape a more skeptical, media-savvy generation.

Impact on Satire and Parody: Mad’s approach to parody—particularly its movie and TV parodies—became a template for future satirical shows, comic strips, and movies. Its humorous critiques of mass media laid the groundwork for later satirical publications like The Onion and TV shows like The Daily Show.