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Traces the evolution of MAD from its position as an obscure ten-cent comic book to its near cult status, discussing its reflection of post-World War II popular culture--including movies, politicians, and ad campaigns. Reprint. 75,000 first printing. $75,000 ad/promo.
- Sales Rank: #413166 in Books
- Published on: 1992-09
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 10.00" w x .50" l,
- Binding: Paperback
- 208 pages
From Publishers Weekly
Publisher Bill Gaines and editor Harvey Kurtzman produced the first issue of Mad magazine in 1956 and American satirical humor has never been the same since. Beginning with the comic book company founded by his father, Max, Gaines transformed his father's wholesome comics lines into EC Comics, the profitable publisher of classic 1950s' horror comics, and later introduced Mad and its mascot, the "What Me Worry" kid, Alfred E. Neuman. Although basically celebratory and uncritical, art historian Reidelbach's detailed history of Mad mentions recent criticisms of sexist and homophobic material in the magazine as well as Mad 's (and the comics industry's) contested policies on the ownership of commissioned artwork. Most amusing are descriptions of Gaines--who continues to run the profitable magazine as a "benevolent dictatorship"--and his idiosyncratic management theories ( Mad accepts no advertising, has never conducted a reader survey and does little merchandising). The book is chock-full of Mad material--the usual "trash," as Mad always describes its own contents--as well as information on the many freelance artists and writers who have worked for the magazine.
Copyright 1991 Reed Business Information, Inc.
From School Library Journal
YA-- A zany celebration of 40 years of MAD that should please ardent fans and attract browsers with its madcap illustrations that include reproductions of every cover since 1952.
Copyright 1992 Reed Business Information, Inc.
From Library Journal
Art historian Reidelbach's history of Mad magazine is arranged thematically--which makes sense, since the magazine has changed little in 40 years, making a chronological approach superfluous. Only occasionally critical (touching briefly on the shortage of female points of view, periodic homophobia, and publisher William M. Gaines's controversial management style), Reidelbach examines the different things Mad has done, and been accused of doing, and the tremendous influence it has had on the field of satire and the American consciousness. The book is profusely illustrated, well researched, and has numerous sidebars profiling the many Mad contributors over the years: creator Harvey Kurtzman, Gaines, and the rest of "the usual gang of idiots." What makes the book stand out, however, is the remarkable and imaginative layout by Alexander Isley Design, using different typefaces and the occasional right angle to differentiate main text from sidebars, captions, and pithy quotes. Essential for pop culture collections; a discretionary purchase for public and academic libraries.
- Keith R.A. DeCandido, "Library Journal"
Copyright 1991 Reed Business Information, Inc.
Most helpful customer reviews
5 of 5 people found the following review helpful.
A great look at the creation of the magazine
By Doug Erlandson
Growing up in the 1950s and 1960s I bought almost every copy of Mad. Back then it was truly funny. (Perhaps I"m getting old. I looked at a couple copies my kids had bought back in the 1990s and it didn't seem nearly as funny or interesting as it had been when I was a kid.) The Don Martin cartoons were great. The movie and TV spoofs were hilarious, as were the products that were spoofed in the Mad takeoffs. (One of my favorites was the one that had the inscription, "Our Mayjag Washer is a Workin' Still," which featured a family of hillbillies who didn't have electricity but who had converted a washer that they had received as a gift into a whiskey still.) And then there was "Spy vs. Spy," which somehow managed to be consistently funny despite being rather repetitive.
What I didn't know was the story behind the magazine. Thankfully, my kids gave me a copy of "Completely Mad" as a gift several years ago. Although this is not a detailed an account of how the magazine came about or the behind-the-scenes work that went into producing what was perhaps the best satire of the day, it provides an excellent introduction to the process as well as to the individuals who were responsible for churning out issue after issue of consistently funny material. I would highly recommend this book for anyone who grew up reading Mad in its heyday.
7 of 11 people found the following review helpful.
Flawed....But What Are Your Options?
By El Kabong
Maria Reidelbach's COMPLETELY MAD is gorgeous to look at, an oversized visual panoply of color & b/w selections from all eras of the magazine's history. The first 300 covers are reproduced in sequential thumbnails, and there's a generous amount of space devoted not only to the early Kurtzman period, but to the entire EC line of comics from which MAD emerged in '52. Okay, so much for the praise. Where the book falters is in that portion of the text devoted to the Feldstein-and-beyond era (56-91). It's a little understandable; when the entire project is beholden to the cooperation of the magazine for access and permission to reproduce images, you'd expect the thing to read somewhat like a valentine/press release - in fact, give Reidelbach credit for managing to shoehorn in an occasionally neutral or even mildly discouraging word here and there. But what I've always found a bit strange is that EC, who pioneered the practice of bestowing credit and laurels to the individual contributing writers and artists during its comic-book era, abandoned it during MAD's mega-successful run as a magazine. When you consider how indelibly imprinted on the American psyche the work of 'the usual gang of idiots' is, we learn next to nothing about them beyond the skimpiest of bios. In fact, you'd learn more about the day-to-day workings of the magazine and its staff from other sources (the Russ Cochran hardcover reprints, Frank Jacobs' MAD WORLD OF WILLIAM M GAINES, and various interviews in publications like THE COMICS JOURNAL). You'd figure that a publication whose cultural importance often outshone its increasingly-stale satire would warrant a slightly more serious look as well, but reading COMPLETELY MAD one never registers how superior the first fifteen years of MAD was to the subsequent thirty or so. Even the often-admitted increasing distance Gaines felt to the newsstand product (he never quite recaptured his hands-on enthusiasm for the editorial side of publishing after the comic-book witch hunts, and MAD's rocketing popularity throughout the 60s and 70s only further alienated him) is completely side-stepped. While this book is lovely to look at and worth having, these types of minuses finally outweigh its eye-candy appeal. Further compounding the flaws is the fact that many of its important contributors, now in their 60s and 70s, have now passed on or are in declining health...it is hoped that someone out there will finally publish a book that focuses on Clarke, Woodbridge, Aragones, Drucker, Martin, Jaffee and the equally-unsung writers (Siegel, DeBartolo, Kogen, Reit, etc) in as many of their own words as possible, and devoid of the soft-shoulders p.r. that hobbles this effort. Jeez, even Al Feldstein is short-shrifted here!
1 of 3 people found the following review helpful.
Entertaining, though it wears thin...
By Mike Smith
COMPLETELY MAD is a history book of the subversive and satirical MAD MAGAZINE, going chapter by chapter through the magazine's long and fairly interesting history--including MAD's very direct connection to the very first comic books ever. Other chapters include a history of Alfred E. Neuman, Mad's gap-toothed mascot; Mad's connection to the classic horror and sci-fi of EC Comics; and MAD's controversial role in national politics, censorship, et cetera.
Overall, the book is a nice read--beautifully and creatively designed--and the frequent, full-color reprintings of classic MAD features are often laugh-out-loud, and frequently clever, but the book, to me, seems to run a bit longer than its subject matter can successfully handle.
Plus, the book's repeated claims of the enormous political effects the magazine has had sometimes seem exagerrated, and some of the chapters--such as the one dwelling on the artists' company vacations--seem unneeded.
I liked this book enough that I'll probably hold onto it, and it did give me something of a new respect for MAD, but at best this is a sort of guilty pleasure--the sort of thing you might turn to when you're supposed to be reading something else, supposed to be reading something for a class or a research project.
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