Today, we’re surrounded by humor that pokes fun at everything, from politics to everyday life, thanks to shows like The Simpsons and The Daily Show. But back in the 1950s, this kind of humor wasn’t common at all. That’s where Mad Magazine came in, shaking things up by making fun of everything from movies to advertisements. Even if you’ve never read Mad, you might recognize its mascot, Alfred E. Neuman. But who created Mad, why did Alfred cause a lawsuit, and what made the FBI interested in a humor magazine? Let’s dive into this fascinating story.
Today, comic books inspire blockbuster movies, but in the 1950s, many adults thought comics were bad for kids. Some even burned them! While superheroes like Superman and Batman were under scrutiny, crime and horror comics faced the most criticism. EC Comics, founded by Maxwell Gaines in 1944 and later run by his son William, was known for its scary titles like Tales from the Crypt. These comics were as intense as horror movies of the time.
One of EC’s employees, Harvey Kurtzman, believed comics could be more meaningful. After serving in the military, he joined EC Comics and worked on war comics with a thoughtful approach. Despite his serious work, Kurtzman had a knack for humor and wanted to create something funny. The idea for Mad was born, although it’s unclear whether Kurtzman or Gaines came up with the name. Kurtzman wanted to parody popular comics, making fun of genres like horror and superheroes. The first issue, Tails Calculated to Drive You Mad, came out in 1952 but didn’t sell well initially.
To gain attention, Kurtzman targeted a famous superhero, creating a parody called “Super Duper Man” in the fourth issue. This caught people’s attention and even led to a legal letter from DC Comics, asking Mad to stop. But Mad didn’t back down, and its popularity soared, reaching 750,000 copies per issue.
Under Kurtzman’s leadership, Mad embraced its rebellious humor. The magazine’s covers looked like school notebooks, encouraging kids to sneak them into class. However, this success came during a time when comics faced backlash, leading to congressional hearings in 1954. William Gaines had to testify, and the comics industry created the Comics Code Authority to regulate content.
Kurtzman eventually left Mad, and Gaines changed its format to a magazine, freeing it from the Comics Code Authority. This change introduced Alfred E. Neuman, whose image came from old advertising illustrations. Alfred became a symbol of the magazine, despite various legal claims over his copyright.
Over the years, Mad introduced many popular features, like the Mad Fold-In by Al Jaffee and Spy vs. Spy by Antonio Prohias. Artists like Mort Drucker became famous for their parodies. By the 1970s, Mad had over 2 million readers and was a key voice in the counterculture movement. However, as humor and pop culture evolved, Mad faced challenges, including declining circulation and eventually accepting advertisements.
In 2019, DC Entertainment decided to stop publishing new issues of Mad, focusing instead on reprints of classic stories with some new content. While Mad Magazine may not be as culturally significant today, its impact on comedy and pop culture is undeniable, influencing everything from Garbage Pail Kids to artists like “Weird Al” Yankovic.
I’m Erin McCarthy. If you have a favorite part of Mad, let us know in the comments. Thanks for reading!
Imagine you are a writer for Mad Magazine in the 1950s. Choose a popular superhero or movie from today and create a short parody comic strip. Use humor to highlight the quirks and clichés of your chosen subject. Share your comic with the class and discuss what makes it funny.
Research the Comics Code Authority and its impact on the comic book industry. Prepare a short presentation explaining why it was created, what rules it enforced, and how it affected publications like Mad Magazine. Discuss with your classmates whether you think such regulations are necessary today.
Alfred E. Neuman became an iconic symbol for Mad Magazine. Design a modern version of Alfred that reflects today’s culture and issues. Consider how his appearance and catchphrase might change. Present your design and explain your choices to the class.
Participate in a class debate on the role of satire in society. One side will argue that satire is essential for critiquing and improving society, while the other side will argue that it can be harmful or disrespectful. Use examples from Mad Magazine and other satirical works to support your arguments.
Work in groups to create a timeline that highlights key moments in the history of Mad Magazine and its influence on comedy and pop culture. Include important events, such as the introduction of the Mad Fold-In and the magazine’s transformation from a comic book. Present your timeline to the class and discuss Mad‘s legacy.
Here’s a sanitized version of the provided YouTube transcript:
—
Thanks to satire like *The Simpsons* and *The Daily Show*, it’s hard to imagine a time when irreverent humor wasn’t everywhere. However, the 1950s were quite different; anti-establishment humor wasn’t part of the mainstream until *Mad Magazine* arrived to poke fun at everything from politics to movies to advertising. Even if you never picked up *Mad*, you probably know Alfred E. Neuman, its iconic mascot. But who came up with *Mad*, what prompted a lawsuit over Alfred, and why did the FBI feel the need to keep a file on a humor magazine? It’s all next on this special edition of *Throwback*.
Today, comic books are the source material for movies that gross billions of dollars, but in the 1950s, adults generally perceived them as low-quality entertainment that would negatively influence children. Some people even resorted to burning them. How did comics get such a bad reputation? While characters like Superman and Batman were viewed with suspicion, adults were particularly fixated on crime and horror comics, like those published by EC Comics, founded by Maxwell Gaines in 1944 and later run by his son, William Gaines. EC was known for grisly titles like *Tales from the Crypt* and *The Vault of Horror*, which featured graphic content similar to slasher films of the time.
One employee at EC, Harvey Kurtzman, believed comics could do better. After completing military service, Kurtzman sought to become a professional illustrator. He landed at EC Comics, where he approached popular war titles with a more thoughtful perspective, examining the human cost of war. Despite his serious themes, Kurtzman had a background in humor comics and wanted to create something funny while earning more money.
The historical record is unclear regarding who exactly came up with the idea for *Mad*. Kurtzman claimed it was his idea, while Gaines said it was his. They never agreed on who named it *Mad*. What we do know is that Kurtzman wanted to create a comic that parodied other comic books, featuring stories that poked fun at popular genres like horror, westerns, and superheroes. The first issue of *Mad*, titled *Tails Calculated to Drive You Mad*, launched in October-November 1952, but it sold poorly.
Kurtzman decided to target a major comic book character, leading to the satire titled “Super Duper Man” in the fourth issue. This parody generated significant word-of-mouth and prompted a legal letter from DC Comics, demanding that *Mad* stop mocking their character. *Mad* did not comply and continued to receive legal letters, but its circulation soared to 750,000 copies per issue.
Under Kurtzman’s direction, *Mad* leaned into subversive humor, with covers designed to look like school composition books, encouraging kids to sneak it into school. The success of *Mad* coincided with a public backlash against comic books, leading to congressional hearings in 1954. William Gaines was called to testify, and the comics industry was forced to self-regulate through the Comics Code Authority, which monitored content for appropriateness.
Kurtzman eventually left *Mad* to pursue other projects, and Gaines allowed him to change the format of the comic to a magazine, which exempted it from the Comics Code Authority. This change led to the introduction of Alfred E. Neuman, whose origins trace back to an illustration that circulated in advertising material. The character became widely recognized, and various legal claims were made regarding his copyright, but none were successful.
*Mad* introduced many popular features and artists over the years, including the *Mad Fold-In* by Al Jaffee and the *Spy vs. Spy* comic by Antonio Prohias. Mort Drucker became known for his pop culture parodies, and *Mad* continued to grow in popularity throughout the 1960s and 70s, even facing legal challenges regarding copyright infringement.
By the early 1970s, *Mad* had a circulation of over 2 million readers and became a vital voice in the counterculture movement. However, as the 20th century progressed, humor and pop culture began to change. The magazine faced declining circulation and made significant changes, including accepting advertisements, which had been avoided since 1957.
In 2019, DC Entertainment decided to stop publishing new issues of *Mad*, which now primarily offers reprints of classic stories with some new material. While *Mad Magazine* may no longer hold the same cultural significance, its impact on popular culture is undeniable, influencing everything from *Garbage Pail Kids* to the work of artists like “Weird Al” Yankovic.
I’m Erin McCarthy. If you have a favorite department or parody from *Mad*, let us know in the comments. Thanks for watching!
—
This version removes any inappropriate language and maintains the essence of the original transcript.
Mad – In history, “mad” can refer to someone who is perceived as insane or irrational, often used to describe rulers or leaders whose actions were unpredictable or extreme. – In the 16th century, King Henry VIII was sometimes considered mad due to his erratic decisions and numerous marriages.
Humor – In the performing arts, humor is the quality of being amusing or entertaining, often used in plays and performances to engage the audience. – Shakespeare’s comedies, like “A Midsummer Night’s Dream,” are filled with humor that has entertained audiences for centuries.
Comics – Comics are a medium used to express ideas through images, often combined with text or other visual information, and have a rich history in both entertainment and social commentary. – During the 20th century, comics became a popular form of entertainment, with characters like Superman and Batman becoming cultural icons.
Parody – A parody is a humorous or satirical imitation of a serious piece of literature or writing, often used in the performing arts to critique or entertain. – The play “The Complete Works of William Shakespeare (Abridged)” is a parody that humorously condenses all of Shakespeare’s plays into a single performance.
Superhero – A superhero is a fictional character with superhuman abilities, often featured in comics and films, who fights for justice and the greater good. – Spider-Man, a superhero created by Marvel Comics, uses his powers to protect New York City from villains.
Reputation – Reputation refers to the beliefs or opinions that are generally held about someone or something, often influencing their role in history or the arts. – The reputation of the Globe Theatre as a premier venue for Shakespeare’s plays helped solidify his legacy as a playwright.
Magazine – A magazine is a periodical publication containing articles and illustrations, often covering a particular subject or area of interest, including history and the arts. – “The New Yorker” magazine has published numerous articles on the history of theater and the performing arts.
Legacy – Legacy refers to something handed down by a predecessor, often used to describe the lasting impact of historical figures or artists. – The legacy of the ancient Greek playwrights is evident in the structure and themes of modern theater.
Culture – Culture encompasses the social behavior, norms, and artistic expressions of a society, often reflected in its history and performing arts. – The Harlem Renaissance was a cultural movement that celebrated African American culture through music, art, and literature.
Influence – Influence is the capacity to have an effect on the character, development, or behavior of someone or something, often seen in historical events or artistic movements. – The influence of the Renaissance on European art and culture was profound, leading to advancements in painting, sculpture, and architecture.
