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Mad is known for many regular and semi-regular recurring features in its pages.
Every issue but two of Mad from 1964 to the present has featured a Fold-in, written and drawn by artist Al Jaffee until he retired in 2020 and Johnny Sampson thereafter. They usually appear on the inside back cover, though one issue featured a Fold-in front cover and the year-end "Mad 20" issues move the feature to an interior page. In each Fold-in a question is asked, often of a topical nature. The subject is illustrated by a picture taking up the bulk of the page, with a block of text underneath. When the page is folded inward, the inner and outer fourths of the picture combine to reveal an alternate answer in both picture and words. Jaffee's precise layouts sometimes include false visual cues designed to trick the reader's eye towards an incorrect solution.
From 1961 to 2002, Dave Berg produced "The Lighter Side of...", which often satirized the suburban lifestyle, capitalism and the generation gap. Subjects commonly lampooned include medicine, office life, parties, marriage, psychiatry, shopping, school and other everyday activities. Although this feature eventually became notorious for its corny gags and garishly outdated fashion choices, the Mad editors reported that it was the magazine's most popular feature. "The Lighter Side" was more pointed in its early years, providing the sort of Americana-based humor that standups such as Shelley Berman and Alan King performed successfully onstage. The feature was retired with Berg's death.
Four months after the last Berg artwork was published, his final set of gags, which Berg had written but not penciled, appeared as a tribute. These last "Lighter Side" strips were divided among 18 of the magazine's regular artists, including Jack Davis' last original work for Mad. In 2007, an occasional feature called "The Darker Side of the Lighter Side" debuted. These consist of reprinted Berg strips, with rewritten word balloons that change the gags to references about disease, sex offenders, corpse disposal and other unsavory, un-Berg-like topics.
Antonio Prohías's wordless "Spy vs. Spy," the never-ending battle between the iconic Black Spy and White Spy, ended up outlasting the Cold War that inspired it. Except for the respective black/white color of their clothing, the two spies were identical in appearance and intent. The strip was a silent parable about the futility of mutually-assured destruction, with various elaborate traps designed in Prohías' thick line. Typically, the trap would boomerang back on whichever spy had concocted it. There was no pattern or order dictating which spy would be defeated in a particular episode. A female "Grey Spy" frequently appeared from 1962 through 1965, followed by a 40-year hiatus. After that she made occasional appearances from 2005 to 2020. Unlike her two adversaries, she always prevailed. Although Prohías retired from doing the strip in the late 1980s, "Spy vs. Spy" continued in a series of different hands until 1997, when Peter Kuper took over as the full-time writer-artist until new editions of the feature stopped in 2022. [1] However, the original Morse Code byline "by Prohias" remains in each strip's title.
Don Martin, billed as "Mad's Maddest Artist", [2] drew gag cartoons, generally one page but sometimes longer, featuring lumpen characters with apparently hinged feet. Martin's absurd sight gags were frequently punctuated by an array of onomatopoeic sound effects such as "GLORK" or "PATWANG-FWEEE", coined by Martin himself (or by frequent ghost writer Don Edwing). [2] Martin's wild physical comedy would eventually make him the signature artist of the magazine.
When Martin first joined Mad, he employed a nervous, scratchy art style, but this developed into a rounder, more cartoony look. Many of his cartoons used similar expositional titles (e.g., "One Exceedingly Fine Day at the Beach," "On the Elevator," "The Pickpocket"). On occasion these titles became increasingly elaborate (e.g., "One Night in the Acme Ritz Central Arms Waldorf Plaza Statler Hilton Grand Hotel", "One Hot Sunny Afternoon in the Middle of the Ocean", or "One Fine Day at the Corner of South Finster Boulevard and Fonebone Street").
Martin's 31-year association with Mad ended in some rancor over the ownership of his original artwork. Not long after leaving Mad, Martin ended up working at Mad's competitor Cracked , which, unlike Mad, allowed creators to keep their pages. In 1994, Martin left Cracked and published a handful of issues of his own self-titled publication. [3]
Sergio Aragonés has written and drawn his "A Mad Look At..." feature since his debut in Mad #76 (January 1963), which began to be sold on November 13, 1962. [4] Each is a series of gag strips with a common theme. Aragonés' Mad cartooning is notable for almost never using word balloons; when they occur at all, they will most often feature a drawing of whatever is being discussed. Aragonés will periodically bend this rule for a store window sign, a stray "Gesundheit", or some other dialogue vital to the punchline.
Aragonés also provides the "Mad Marginals" or "Drawn-out Dramas", which are small gag images that appear throughout the magazine in its corners, margins or the narrow spaces between panels. Aragonés also debuted the feature in Mad #76, and it has appeared in every issue of the magazine since, except for Mad #111. According to Aragonés, his work for that issue was lost in the mail. [5]
A typical issue will include at least one full parody of a popular movie or television show. The titles are changed to create a play on words; for instance, The Addams Family became The Adnauseum Family. The character names are generally switched in the same fashion.
These articles run for several pages, and are presented as a sequential storyline with caricatures and word balloons. The opening page or two-page splash usually consists of the cast of the show introducing themselves directly to the reader. In some parodies, the writers sometimes attempt to circumvent this convention by presenting the characters without such direct exposition. Many parodies end with the abrupt deus ex machina appearance of outside characters or pop culture figures who are thematically tied into the nature to the movie or TV series being parodied, or who comment satirically on the theme. For example, Dr. Phil arrives to counsel the psychologically damaged Desperate Housewives ; in another spoof, the former cast of Sex and the City are hired as the new hookers for another HBO series, Deadwood .
The parodies frequently make comedic use of the fourth wall, breaking character, and meta-references. Within an ostensibly self-contained storyline, the characters may refer to the technical aspects of filmmaking, the publicity, hype or box office surrounding their project, their own past roles or real-life circumstances, and critical analysis of clichés. In the final panel of "The $ound of Money", the magazine's 1966 parody of The Sound of Music , Julie Andrews sings a parody of the song "Climb Ev'ry Mountain". The rewritten lyrics reference both the producers' decision to create scarcity and maximize box office profits by running the film in just one theater per city at inflated ticket prices ("Charge high admissions; / Let people wait; / That will make them think they're / Seeing something great!"), as well as Warner Brothers' decision to replace Andrews with Audrey Hepburn in its movie adaptation of My Fair Lady . Andrews had been a great success as Eliza Doolittle in the original Broadway production, but she was passed over for the film role. Despite the high-profile snub, Andrews made an Oscar-winning debut in Mary Poppins – released four months before My Fair Lady – and solidifying her big screen success with The Sound of Music. Concluding the Mad parody, Andrews gleefully sings:
Several show business stars have been quoted to the effect that the moment when they knew they had finally "made it" was when they saw themselves thus depicted in the pages of Mad. Many celebrities parodied by the magazine have posed for photographs which were printed in Mad's letters column, generally holding the copy of the magazine they appeared in, and frequently, reacting in some comical way. After the magazine depicted the main cast of L.A. Law on a 1987 cover, the actors responded with a photo in which the actors mimicked their caricatured poses and placement, with series creator Steven Bochco blacking out a tooth and taking the place of Alfred E. Neuman. [6]
Guns N' Roses guitarist Slash told Mojo , "The magazine cover that has meant the most to me was probably when I appeared in Mad Magazine, as a caricature of Alfred E. Neuman (#330, 1994). That was when I felt that I'd arrived." [7] Film critic Roger Ebert said that being parodied by Mad was "the ultimate honor." [8] In an appearance on The Tonight Show , Michael J. Fox told Johnny Carson that he knew he had made it in show business "when Mort Drucker drew my head." [8] Howard Stern has often talked about what the magazine meant to him, as in January 2009 when he said, "My greatest career highlight was being on the cover of Mad Magazine." [9] He revisited the topic in October 2013, saying, "It really was the pinnacle of success for me, that I could be on the cover of MAD Magazine, with Alfred E. Neuman plunging my head into a toilet bowl. I was just so thrilled and happy... I couldn't believe it." [10]
Monroe was an ongoing storyline about an angst-filled teenaged loser. It depicted the title character's travails in school, his dysfunctional home and his relentless troubles elsewhere. Written by Anthony Barbieri, it was illustrated by Bill Wray from 1997 to 2006. The previously black-and-white feature was colorized in 2005, and went on hiatus for much of 2006. When it returned, it was drawn by Tom Fowler with Barbieri remaining the writer. It last appeared in January 2010.
Several Mad premises have been successful enough to warrant additional installments, though not with the regularity of the above. These include:
Besides the above, Mad has returned to certain themes and areas again and again, such as fullblown imaginary magazines, greeting cards, nursery rhymes, Christmas carols, song parodies and other poetry (including several versions of "Casey at the Bat"), comic strip takeoffs and others.
The first page of each issue lists all the articles to follow, including their "Department" headings, which are plays on words. For example, a parody of a pizza chain's menu appeared under "The Passion of the Crust Department", while an article entitled "William Shakespeare, Sports Commentator" was part of "The Play-By-Play's the Thing Department". Long-running features had equally long-running headers: Spy vs. Spy is filed under the "Joke and Dagger Department", Dave Berg's "Lighter Side of..." always ran within the "Berg's Eye View Department", and many of Frank Jacobs' articles come under the "Frank on a Roll Department". Don Martin's crazy cartoons were simply labelled "Don Martin Department", with further fanfare presumably being unnecessary. Dick DeBartolo's articles occasionally are headed under the "Dick DePartment", while some of Duck Edwing's articles were labeled as the "Tales from the Duck Side" Dept. Most of the magazine's other recurring features have had their own continuing "Department".
Each Table of Contents cites one article that does not actually exist. Examples of these imaginary listings have included "Santa Claus, Porn Star"; "What if Cap'n Crunch Was Brought Before a Military Tribunal?"; "If Bobby Knight Coached the Special Olympics"; "Only the Assistant Undersecretary of Transportation Would Possibly Believe..."; "What if Daffy and Donald Duck Went To Prison?"; and "Snappy Answers to Stupid Questions During the Bombing of Belgrade". In one instance, the fake title listed, "If Chickens Could Time Travel", showed up as a genuine article in the next issue.
Each Table of Contents also includes a quote or aphorism attributed to Alfred E. Neuman. With a handful of exceptions, this is the only time the character ever "speaks".
An esoteric version of the standard "Letters to the Editors", this section of the magazine includes correspondence from readers, reader drawings or craft projects, celebrity photos, references to Mad in other media, and so forth. In recent years, all letters are typically answered in a snide and insulting manner, and always include a pun or twist on the sender's name.
The first "Letters" section (then called "Mad Mumblings") appeared in MAD #3 (January–February 1953). The first letter printed came from a Marine Corps corporal named Eugene F. Shanlin, who said he "had never heard people laugh out loud at a comic magazine before!" (Shanlin later became an officer with the NYPD and died in 2000.) [11]
There have been a few recurring sub-departments, including the "Make a Dumb Wish Foundation" which promised to make readers' stupid requests come true (a parody of the Make a Wish Foundation); "Antiques Freakshow with Hans Brickface", in which photographs of readers' bizarre household items were appraised by the slightly psychotic Hans; absurd one-sentence observations called "MAD Mumblings", which were typically non sequiturs posted online by the readers; and celebrity "Two-Question Interviews" which were essentially over before they began, thus revealing nothing.
The magazine solicits reader photos of famous people posing with a copy of Mad. Once a year, Mad publishes "The Nifty Fifty", listing 50 famous people they hope to see in upcoming "Celebrity Snaps". A reader who successfully gets one of the fifty to pose in a photo gets a free three-year subscription (provided that the celebrity is touching the issue). Some celebrities send in photos of themselves, typically in response to the magazine having targeted them in a previous issue. The magazine was delighted to publish a photo of Dan Quayle unwittingly holding the "PROOFREADER WANTED" cover of Mad #355, on which the magazine's logo appeared as MAAD. During a photo op in 1992, the then-Vice President had incorrectly "corrected" an elementary school student on the way Quayle thought the word "potato" should be spelled.
Beginning with its February 2004 edition, Mad has led off its issues with this catch-all section of various bits, which are far shorter or smaller than normal Mad articles. They often appear as many as three to six per page. Some of these pieces are produced in-house; others are the work of freelancers. All contributors for each month were credited en masse, as "Friends of Fundalini". For this reason, it is not always apparent which contributor is responsible for which item, particularly the writers. Beginning with issue number 500 (June 2009), writers and artists (except editorial staff members) have been given credit for individual contributions. Most Fundalini features are one-shot gags that never appear again, some have appeared multiple times, and a few have become regular features. Among the recurring elements in the Fundalini section are:
A Wikipedia parody has appeared twice, first called "Wonkypedia", and then "Wakipedia". Both entries featured a convoluted assortment of unrelated facts, in the style of an inaccurate or vandalized Wikipedia page (e.g. the "article" on Pearl Harbor discussed Mao Tse-Tung's surprise attack and how it led to the bombing of Chernobyl). Wonkypedia is now an actual website. [12]
Truncated versions of two pre-existing features, *Celebrity Cause of Death Betting Odds" and *Melvin and Jenkins' Guide to..." have been moved to Fundalini.
An assortment of short gag comic strips drawn by various artists, it has appeared roughly every other month since its debut in the July 2005 issue. It typically runs three pages, and is a combination of one-shot gags and recurring features. Among the repeated strip characters are an omnipotent superhero called Fantabulaman; a hero robot named Santon; Rob, the Evil Backstabbing Robot Temp; Father O'Flannity, a priest who conducts celebrity interviews in a hot tub; Trigger McBride, a horse cop; the unnamed protagonists who use "The Machine that Travels Through Time"; Jeff, a man whose roommate is oblivious to the fact that he is a serial killer despite obvious evidence; and Patience Man, a superhero who takes too long to stop crimes.
Blurring the line between advertising and content was Go Fetch!, a 2005-06 list of newly released media products such as videogames, DVD releases, music albums and books. Each product listing had The Hype and The Snipe, in which its good and bad qualities were expounded. Each Go Fetch! also promoted "the Must Have", an idiosyncratic (but real) product which no Mad reader should be without, such as cold galvanizing spray, or a pneumatic jackhammer. Go Fetch! was an odd cross between the wise-ass Mad mentality and the sort of product ratings generally associated with Rolling Stone . It was an overtly commercial feature, with some one-liners thrown in with the apparent hope of making it more palatable. As such, Go Fetch! was heavily criticized by many of the magazine's loyal readers as a betrayal of the magazine's original satiric mission. In its year of existence, Go Fetch! appeared in eight of 12 issues, but the feature has been defunct since June 2006.
Since 1998, in every January issue, Mad has commemorated the "20 Dumbest People, Events and Things" of the year. These emphasize the visual motif above all else, parodying such things as movie posters, famous paintings, or magazine covers, though one or two text-heavier takeoffs are usually sprinkled into each year's assortment. The feature is reminiscent of the old Spy Magazine 's "Spy 100" list, which purported to catalogue "Our Annual Census of the 100 Most Annoying, Alarming, and Appalling People, Places and Things".
Though the "20 Dumbest People, Events and Things" are numbered 1-20, the "rankings" appear to be essentially random. The "20th dumbest" slot of 2001 was awarded to Mad itself for its "slide down the slippery slope of greedy commercialism" in finally permitting advertising in its pages.
Keeping in mind the indiscriminate positioning, these were the "#1" selections for the various years:
Mad has made frequent use of esoteric words, including potrzebie, furshlugginer, veeblefetzer, Moxie, ganef, halavah, and axolotl. Many, but not all of these words are of Yiddish or Jewish origin. Favored humorous names included Melvin, Bitsko, Kaputnik, Cowznofski, and Fonebone. Mad used the word "ecch" or its cousins "blecch" and "yecch" as an all-purpose expression of disgust so often that even The Simpsons later made passing references to the practice, showing Mad covers with the unseen parodies "Beauty and the Blecch" and "NYPD Blecch".
The word "hoohah" was an early running gag, often exclaimed by excited characters in the comic book issues written by Harvey Kurtzman; the first story in the first issue of Mad was titled "Hoohah!". [14] Its Eastern European feel was a perfect fit for the New York Jewish style of the publication. The precise origin of "hoohah" is unknown, although it may have sprung from the Hungarian word for "wow", which is hűha.
"It's crackers to slip a rozzer the dropsy in snide" was a non sequitur-ish phrase that found its way into Mad on several occasions in the 1950s; this was dated British slang meaning "It's madness to bribe a policeman with counterfeit money." (The phrase originated in Margery Allingham's mid-thirties detective novel, The Fashion in Shrouds). [15]
Some of the magazine's visual elements are whimsical, frequently appearing in the artwork without context or explanation. Among these are a potted avocado plant named Arthur (reportedly based on art director John Putnam's personal marijuana plant); a domed trashcan wearing an overcoat; a pointing six-fingered hand; the Mad Zeppelin (which more closely resembles an early experimental non-rigid airship); and an emaciated long-beaked creature who went unidentified for decades before being dubbed "Flip the Bird".
In late 1964, Mad was tricked into purchasing the "rights" to an optical illusion already in the public domain,[ citation needed ] featuring a sort of three-pronged tuning fork whose appearance defies physical possibility. The magazine dubbed it the "Mad poiuyt" after the six rightmost letter keys on a QWERTY keyboard in reverse order, not realizing that the existing image was already known to engineers and usually called a blivet.
Mad cartoonists have regularly drawn themselves, fellow contributors and editors, and family members into the articles, most famously Dave Berg's self-caricature "Roger Kaputnik". Al Jaffee sometimes incorporates a self-caricature into his signature, most notably in his fold-ins. The magazine's photo spreads have typically featured Mad's own staff. Originally, the magazine tried hiring models for its photo shoots, but found that many were unwilling to make the exaggerated faces the magazine wanted. While trying to prompt the reluctant outsiders with demonstrations, the magazine staff soon decided that they were better suited for foolish posing than the professionals, and more cost-effective.
In the 1990s and 2000s, the magazine has made periodic references to "the monkey juice", generally in the context of over-imbibing with same. Many letter column responses are punctuated with the breezy interjection "Fa fa fa!". The mysterious name "Max Korn" has popped up for years; reader requests to clarify Korn's true identity have been greeted with increasingly outlandish explanations.
Regardless of the amount, the changing cover price of Mad has long been followed by the word "Cheap!". Variants have occasionally appeared; following an increase from 25 to 30 cents, the successive issues claimed to be "Cheap" (but X'd out), "Cheap?", and "Kinda Cheap". A rise to 40 cents sparked almost a year's worth of variations: "Ouch!", "Outrageous!", "No Laughing Matter", "Relatively Cheap", "Cheap (Considering)", and again, "Cheap?". Other price increases were billed as "Almost Cheap", "Inflated!", and for a cover featuring Bonnie and Clyde, "Highway Robbery".
Mad is an American humor magazine first published in 1952. It was founded by editor Harvey Kurtzman and publisher William Gaines, launched as a comic book series before it became a magazine. It was widely imitated and influential, affecting satirical media, as well as the cultural landscape of the 20th century, with editor Al Feldstein increasing readership to more than two million during its 1973–1974 circulation peak.
Sergio Aragonés Domenech is a Spanish-Mexican cartoonist and writer best known for his contributions to Mad magazine and creating the comic book Groo the Wanderer.
Dave Berg was an American cartoonist, most noted for his five decades of work in Mad of which The Lighter Side of... was the most famous.
Allan Jaffee was an American cartoonist. He was notable for his work in the satirical magazine Mad, including his trademark feature, the Mad Fold-in. Jaffee was a regular contributor to the magazine for 65 years and is its longest-running contributor. In a 2010 interview, Jaffee said, "Serious people my age are dead."
Crazy Magazine is an illustrated satire and humor magazine that was published by Marvel Comics from 1973 to 1983 for a total of 94 regular issues. It was preceded by two standard-format comic books titled Crazy. The magazine's format followed in the tradition of Mad, Sick, Cracked and National Lampoon.
Cracked was an American humor magazine. Founded in 1958, Cracked proved to be the most durable of the many publications to be launched in the wake of Mad magazine.
Don Martin was an American cartoonist whose best-known work was published in Mad from 1956 to 1988. His popularity and prominence were such that the magazine promoted Martin as "Mad's Maddest Artist."
Harvey Kurtzman was an American cartoonist and editor. His best-known work includes writing and editing the parodic comic book Mad from 1952 until 1956, and writing the Little Annie Fanny strips in Playboy from 1962 until 1988. His work is noted for its satire and parody of popular culture, social critique, and attention to detail. Kurtzman's working method has been likened to that of an auteur, and he expected those who illustrated his stories to follow his layouts strictly.
The Mad Fold-In is a feature of the American humor and satire magazine Mad. Written and drawn by Al Jaffee until 2020, and by Johnny Sampson thereafter, the Fold-In is one of the most well-known aspects of the magazine, having appeared in nearly every issue of the magazine starting in 1964. The feature was conceived in response to centerfolds in popular magazines, particularly Playboy.
Spy vs. Spy is a wordless comic strip published in Mad magazine. It features two agents involved in stereotypical and comical espionage activities. One is dressed in white, and the other in black, but they are otherwise identical, and are particularly known for their long, beaklike heads and their white pupils and black sclera. The pair are always at war with each other, using a variety of booby traps to inflict harm on the other. The spies usually alternate between victory and defeat with each new strip. A parody of the political ideologies of the Cold War, the strip was created by Cuban expatriate cartoonist Antonio Prohías, and debuted in Mad #60, dated January 1961. Spy vs. Spy is currently written and drawn by Peter Kuper.
John Burton Davis Jr. was an American cartoonist and illustrator, known for his advertising art, magazine covers, film posters, record album art, and numerous comic book stories. He was one of the founding cartoonists for Mad in 1952. His cartoon characters are characterized by extremely exaggerated anatomy, including big heads, skinny legs, and large feet.
Basil Wolverton was an American cartoonist and illustrator known for his intricately detailed grotesques of bizarre or misshapen people. Wolverton was described as "Producer of Preposterous Pictures of Peculiar People who Prowl this Perplexing Planet." His many publishers included Marvel Comics and Mad magazine.
Antonio Prohías was a Cuban-American cartoonist. He was the creator of the satirical comic strip Spy vs. Spy, which he illustrated for Mad magazine from 1961 to 1987.
Cliff Hanger is the name of two different 1983 comic strips, one published in the United Kingdom and the other in the United States.
Franklin Jacobs was an American author of satires, known primarily for his work in Mad, to which he contributed from 1957 to 2014. Jacobs wrote a wide variety of lampoons and spoof, but was best known as a versifier who contributed parodies of famous song lyrics and poems. In 2009, Jacobs described himself as "the least-known writer of hysterical light verse in the United States."
Robert J. "Bob" Clarke was an American illustrator whose work appeared in advertisements and MAD Magazine. The label of the Cutty Sark bottle is his creation. Clarke was born in Mamaroneck, New York. He resided in Seaford, Delaware.
Don "Duck" Edwing was an American gag cartoonist whose work has appeared for years in Mad. His signature "Duck Edwing" was usually accompanied by a small picture of a duck, and duck calls were heard on his answering machine. Mad editor John Ficarra said, "He's exactly how people picture a Mad magazine writer." In 2007, Edwing told an interviewer, "I always believed that when you choose your field, you should specialize. You never deviate. I chose 'sick puppy'."
Tom Richmond is an American freelance humorous illustrator, cartoonist and caricaturist whose work has appeared in many national and international publications since 1990. He was chosen as the 2011 "Outstanding Cartoonist of the Year", also known as "The Reuben Award", winner by the National Cartoonists Society.
Sam Viviano is an American caricature artist and art director. Viviano's caricatures are known for their wide jaws, which Viviano has explained is a result of his incorporation of side views as well as front views into his distortions of the human face. He has also developed a reputation for his ability to do crowd scenes. Explaining his twice-yearly covers for Institutional Investor magazine, Viviano has said that his upper limit is sixty caricatures in nine days.
Debuting in August 1952, Mad began as a comic book, part of the EC line published from offices on Lafayette Street in Lower Manhattan. In 1961 Mad moved its offices to mid-town Manhattan, and from 1996 onwards it was located at 1700 Broadway until 2018 when it moved to Los Angeles, California to coincide with a new editor and a reboot to issue #1.
