Paranoia Magazine Issue #9

Jon Goodchild assisted by Felix Dennis, Art: Felix Dennis and Louise Ferrier. Oz Night — the Nice ad. Incredible String Band ad. Full page Martin Sharp cartoon strip. Full page Apple ad with text by Miles. Jacky Ephgrave, courtesy Thom Keyes. Louise Ferrier, Felix Dennis, Anou. Letter from Clive James. Oz back issues with cover images. Interview with Allen Cohen about Meher Baba.

The next issue of Oz described OZ 16 thus: Mixed media non copy. Felix Dennis, REN This issue produced by Andrew Fisher. Poverty Cooking by Felix and Anson. David Ramsay Steele on the abolition of Money. Graphic from Nottingham University. Interview with Manfred Mann. Deviants LP review by Felix Dennis. This issue edited by Andrew Fisher. Jacky Lawton, courtesy, Thom Keyes. Revolutionary Militant Student ad. Rules for the Black Panther Party. Angelfood McSpade Robert Crumb cartoon.

Full page How to Achieve Sexual Ecstasy ad. Greer-Stanshall pics front, back, inside front and Greer intermittently throughout. Time Out subscription ad. William Domhoff scribbled in parenthesis at the end: Centrefold poems by Peter Mayer, typography by Alan Rickman.

Full page photo and quote from the Incredible String Band. Inside back cover ad for The Encyclopaedia of Sexual Behaviour. Richard Neville, Andrew Fisher. OZ appears with the help of: Jon Goodchild, Felix Dennis, Louise: Hells Angel cover and feature. Word Play by Peter Mayer.

PARANOIA Issue #63 – Winter 2015/2016

Poverty Cooking roast Trafalgar pigeon. Ad for Lenny Bruce LP. Jimmy Page interview by Felix Dennis. Ad for Living Theatre. John Hurford 2 page graphic. Full page Janis Joplin pic and Thunderclap Newman ad. Tommy , Nashville Skyline and Liverpool Scene reviews. Poverty Cooking leg of long pig. Marsha Hunt ad photo by David Bailey. Pop stars and drug law evasion. Full page ad for Jeremy: Ad for an eveing with Steve Dwoskin.

Martha Velez and Murray Roman ads. Max Ernst illustrations with captions and centerfold. Martin Sharp single frames throughout.

Storey — the last supper. Ad for The Julian Press. Caroline News — Alan Reid on pirate radio. Trouble in Molopolis — Martin Sharp photo. The Beautiful Freaks issue. Lee Heater cover insert: Marcia Herscovitz interviews herself. Rolling Stones Through the Past, Darkly ad. Cover photograph by Keith Morris. Mott the Hoople ad.

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Gilbert Shelton Furry Freak Bros cartoon. IT Subscription ad by Edward? Other Scenes subscription ad. Back cover girl with whip photo by Gerard Malanga. Cover photograph by David Nutter. Pussy Power issue - insert: Candy Darling photo centerfold. Full page Time Out ad. The Chicago Conspiracy Trial transcript and full page cartoon. Chaoz — anti TV. Jail Bait of the Month photo. Headmaster of the Year and school articles. Oz Sucks — letters.

Speed Freak Fun cartoons. Canned Heat Live ad. Altamont — male deodorant spray parody ad. Full page ad for Phun City. Back cover photo of a suffragette arrest. The Sun newspaper montage. Keef Hartley Band ad. The Fourth World graphic. Good Times — travel: 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 ' 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.

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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. 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, [50] 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. 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 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. 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.

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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. Although Mad was an exclusively freelance publication, it achieved a remarkable stability, with numerous contributors remaining prominent for decades.

Many have written that the key factor is when the reader first encountered Mad. Proclaiming the precise moment that purportedly triggered the magazine's irreversible decline is a common pastime. Among the most frequently cited "downward turning points" are: 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. The magazine's sales peak came with issue 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. I seem to remember asking my parents what "graft" was. One of the joys of Mad for me at the time was that it was always slightly over my head. Mad editor John Ficarra acknowledges that changes in culture have made the task of creating fresh satire more difficult, telling an interviewer, "The editorial mission statement has always been the same: Mad contributor Tom Richmond has responded to critics who say the magazine's decision to accept advertising would make late publisher William Gaines "turn over in his grave", pointing out this is impossible because Gaines was cremated.

Mad is known for the stability and longevity of its talent roster, billed as "The Usual Gang of Idiots", with several creators enjoying , and even year careers in the magazine's pages. According to the "Mad Magazine Contributor Appearances" website, more than contributors have received bylines in at least one issue of Mad , but only three dozen of those have contributed to issues or more. The list calculates appearances by issue only, not by individual articles or overall page count; e.

Over the years, the editorial staff, most notably Al Feldstein , Nick Meglin , John Ficarra , Joe Raiola and Charlie Kadau have had creative input on countless articles and shaped Mad's distinctive satiric voice. Among the irregular contributors with just a single Mad byline to their credit are Charles M. Leonardo's check is still waiting in the Mad offices for him to pick it up. In its earliest years, before amassing its own staff of regulars, the magazine frequently used outside "name" talent. Often, Mad would simply illustrate the celebrities' preexisting material while promoting their names on the cover.

When the magazine learned that Tom Koch was the writer behind the Bob and Ray radio sketches adapted by Mad , Koch was sought out by the editors and ultimately wrote more than Mad articles over the next 37 years. The magazine has occasionally run guest articles in which notables from show business or comic books have participated.

More than once, the magazine has enlisted popular comic book artists such as Frank Miller or Jim Lee to design and illustrate a series of "Rejected Superheroes. Bush is in Favor of Global Warming ". Each of the piece's 10 punchlines was illustrated by a different Pulitzer Prize —winning editorial cartoonist.

In , "Weird Al" Yankovic served as the magazine's first and only guest editor, writing some material and guiding the content in issue , while upping his own career Mad byline total from two to five. In , Gaines began presenting reprints of material for Mad in black-and-white paperbacks, the first being The Mad Reader.

This practice continued into the s, with more than Mad paperbacks published. Gaines made a special effort to keep the entire line of paperbacks in print at all times, and the books were frequently reprinted in new editions with different covers. Mad also frequently repackaged its material in a long series of "Super Special" format magazines, beginning in with two concurrent annual series entitled The Worst from Mad and More Trash from Mad. Various other titles have been used through the years. One steady form of revenue has come from foreign editions of the magazine.

Mad has been published in local versions in many countries, beginning with the United Kingdom in , and Sweden in Each new market receives access to the publication's back catalog of articles and is also encouraged to produce its own localized material in the Mad vein. However, the sensibility of the American Mad has not always translated to other cultures, and many of the foreign editions have had short lives or interrupted publications. The Swedish, Danish, Italian and Mexican Mad s were each published on three separate occasions; Norway has had four runs cancelled.

Brazil also had four runs, but without significant interruptions, spanning five decades. Australia 35 years and counting United Kingdom 35 years and Sweden 34 years have produced the longest uninterrupted Mad variants. Conflicts over content have occasionally arisen between the parent magazine and its international franchisees.



When a comic strip satirizing England's royal family was reprinted in a Mad paperback, it was deemed necessary to rip out the page from 25, copies by hand before the book could be distributed in Great Britain. Bill Gaines sent "one of his typically dreadful, blistering letters" to his Dutch editors after they published a bawdy gag about a men's room urinal.

Between and February 17, , the magazine published 14 issues of Mad Kids, a spinoff publication aimed at a younger demographic. Much of the content of Mad Kids had originally appeared in the parent publication; reprinted material was chosen and edited to reflect grade schoolers' interests. But the quarterly magazine also included newly commissioned articles and cartoons, as well as puzzles, bonus inserts, a calendar, and the other activity-related content that is common to kids' magazines. Following the success of Mad , other black-and-white magazines of topical, satiric comics began to be published.

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