WEBVTT - MAD Magazine: A Tribute

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<v Speaker 1>Hey, everybody, we're going on tour and you can come

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<v Speaker 1>out and see us in Orlando on August twelfth, Nashville

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<v Speaker 1>on September sixth, and we're gonna wrap it all up

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<v Speaker 1>on September ninth in our hometown of Atlanta, GA.

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<v Speaker 2>That's right, And these are the last shows of the year.

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<v Speaker 2>This has been a really good show this year. We're

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<v Speaker 2>super excited about it, and this is going to be

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<v Speaker 2>your only chance to be in the theater with us,

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<v Speaker 2>and you know, like fifteen sixteen hundred of your closest pals.

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<v Speaker 1>So go to stuff youshould know dot com and check

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<v Speaker 1>out our tour page for links and information, and you

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<v Speaker 1>can also go to link tree slash sysk for the

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<v Speaker 1>same stuff. We'll see you guys this August and September.

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<v Speaker 1>Welcome to Stuff you Should Know, a production of iHeartRadio. Hey,

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<v Speaker 1>and welcome to the podcast. I'm Josh, and there's Chuck

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<v Speaker 1>and Jerry's here. You know, the usual gang of idiots,

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<v Speaker 1>and this is Stuff you Should Know. Very nuts. Yeah,

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<v Speaker 1>I kind of had to say something like thin stunt

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<v Speaker 1>you think.

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<v Speaker 2>Right off the bat?

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<v Speaker 1>Oh, sure, right off the bat, like a bunt that

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<v Speaker 1>hits you yourself in the foot.

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<v Speaker 2>So you were, of course referencing Mad magazine, and that

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<v Speaker 2>was how they referred to themselves to their staff.

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<v Speaker 1>Yeah, basically forever.

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<v Speaker 2>Yeah, one of the great all time satirical rags, one

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<v Speaker 2>of the earliest. It's funny. Right before you got on,

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<v Speaker 2>Jerry said something about did the Cracked website come after

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<v Speaker 2>the Mad magazine? And I said, well, I think she

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<v Speaker 2>conflated them. And I was like no, I was like,

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<v Speaker 2>Cracked was Cracked and Mad was Mad, right, And I

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<v Speaker 2>very quickly looked up because I was like, you know,

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<v Speaker 2>I think Cracked was kind of like a Mad ripoff,

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<v Speaker 2>but they were pretty close together. Mad started in fifty

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<v Speaker 2>two and Cracked started in fifty eight.

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<v Speaker 1>Yeah, but was very far from the only Mad imitator.

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<v Speaker 1>I won't say rip off, but imitator. What else there was?

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<v Speaker 1>Hugh Hefner had one called Trump. Oh yeah, there were

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<v Speaker 1>other ones called Humbug, both of which Mad originator Harvey

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<v Speaker 1>Kurtzman worked on. There was apparently it was like a

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<v Speaker 1>thing like Mad made such a splash early on, as

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<v Speaker 1>we'll see that it basically created a whole new genre,

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<v Speaker 1>I guess.

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<v Speaker 2>Yeah, and you and I were both fans as young'in's right.

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<v Speaker 2>I mean we've talked about this.

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<v Speaker 1>Oh yeah, I was going through. There's a site called

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<v Speaker 1>Doug Guildford's Mad Cover Site.

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<v Speaker 2>Yeah, you can spend a lot of time there.

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<v Speaker 1>Yeah, you can. I believe he has like, like, I

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<v Speaker 1>think there's five hundred and fifty three total original issues

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<v Speaker 1>that they ever released, and I believe he has them all,

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<v Speaker 1>at least the cover scan and then some of them.

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<v Speaker 1>He's gone to the trouble of scanning the contents too,

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<v Speaker 1>so you can read Mad Magazine online.

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<v Speaker 2>Yeah.

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<v Speaker 1>But I went through and looked at covers until I

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<v Speaker 1>started recognizing when like I own that, and then kept

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<v Speaker 1>going through and then they started to taper off and

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<v Speaker 1>I didn't recognize them anymore. In doing so, I was

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<v Speaker 1>able to go back and figure out that I was

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<v Speaker 1>an avid Mad magazine reader from September of nineteen eighty

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<v Speaker 1>six through September of nineteen eighty eight, my entire tenth, eleventh,

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<v Speaker 1>and twelfth years of life.

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<v Speaker 2>I did the same thing. Awesome, because I was kind

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<v Speaker 2>of curious too. I was like, when did I even start?

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<v Speaker 2>And man, I was, of course I'm a little older

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<v Speaker 2>than you, but I was earlier aged as well, because

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<v Speaker 2>I was into it from like eighty to eighty five ish,

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<v Speaker 2>so I was like nine through fourteen and fifteen and

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<v Speaker 2>then a little bit after that. I'm sure, but I

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<v Speaker 2>don't know if you were like me. Mad was an

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<v Speaker 2>expensive magazine for a kid.

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<v Speaker 1>It was cheap and even said so on the cover.

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<v Speaker 2>It was more expensive than other magazines, and one reason

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<v Speaker 2>is because they did not until two thousand and one

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<v Speaker 2>have advertisements to also bring in money, so they made

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<v Speaker 2>their money off of newsstands and subscriptions. And I just remember,

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<v Speaker 2>you know, throwing down for a Mad cost a little dough,

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<v Speaker 2>So I didn't have a ton of them. Got some

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<v Speaker 2>hand me downs from Scott, of course, nice, but so

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<v Speaker 2>many of those covers and movie parodies, especially from the

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<v Speaker 2>great Mort Drucker, really just stuck with me.

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<v Speaker 1>Yeah, no, same here, and he was far and away

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<v Speaker 1>the greatest of all the Mad illustrators, and all of

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<v Speaker 1>them were really great in their own way, but Mort

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<v Speaker 1>Drucker was. Yeah, if you're familiar with Mad, all of

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<v Speaker 1>the movie parodies, the TV parodies that were just that

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<v Speaker 1>looked dead on like the people. That was Mort Drucker.

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<v Speaker 1>And he was named at least in one of the

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<v Speaker 1>articles I read as possibly the greatest caricature artists of

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<v Speaker 1>all time, like in history. Yeah, and I would not really,

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<v Speaker 1>I wouldn't. I wouldn't go against that.

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<v Speaker 2>Now. He did almost exclusively movies though, because their TV

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<v Speaker 2>guy was Angels. Yeah, angela tourist did mostly TV and

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<v Speaker 2>Drunker did mostly movies.

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<v Speaker 1>But they, I mean, they had similar styles. It wasn't like,

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<v Speaker 1>you know, Night and Day, like comparing Don Martin and

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<v Speaker 1>you know, more Drucker or something like that. But and

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<v Speaker 1>no shade on Angelo Torres's work either. So but yes,

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<v Speaker 1>they were more expensive than comic books for sure, Like

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<v Speaker 1>even out of the gate the first Mad magazine cost

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<v Speaker 1>twenty five cents, which is like several hundred dollars today,

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<v Speaker 1>I presume. So, yeah, it was when you can get

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<v Speaker 1>a comic book for like ten cents at the time.

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<v Speaker 2>Yeah. And and you know, it cannot be overstated how

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<v Speaker 2>much Mad sort of laid the groundwork for modern satire. Uh.

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<v Speaker 2>And then as we'll see, all so musical satire and

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<v Speaker 2>things like the Onion and the National Lampoon, things like

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<v Speaker 2>that probably wouldn't well, they maybe would have eventually existed,

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<v Speaker 2>but they certainly had a nice paved road in front

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<v Speaker 2>of them thanks to Mad.

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<v Speaker 1>Yeah, I mean, it's kind of hard to imagine the

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<v Speaker 1>world without things like the Simpsons and The Daily Show

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<v Speaker 1>and all that. But I don't know. I mean, you

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<v Speaker 1>could argue that it would be at least a different world,

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<v Speaker 1>like you were saying, if not that they didn't exist

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<v Speaker 1>at all because of Mad magazine. It's crazy. And one

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<v Speaker 1>of the things that Mad magazine did is another thing

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<v Speaker 1>that it's really hard to imagine not existing in the world,

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<v Speaker 1>is teaching healthy skepticism to kids, adolescents basically. And I

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<v Speaker 1>guess Art Spiegelman he created mouse Right, I mean us,

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<v Speaker 1>the graphic novel. Okay, he had a great quote that

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<v Speaker 1>I think really kind of got it across. At the

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<v Speaker 1>point of Mad, especially early on through the mid seventies,

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<v Speaker 1>is that the entire adult world is lying to you,

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<v Speaker 1>and we are part of the adult world. Good luck

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<v Speaker 1>to you. And that was I mean, that's what they did,

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<v Speaker 1>and it was a I mean, I'm sure I learned

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<v Speaker 1>a lot of skepticism from Mad as well. Absolutely, you

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<v Speaker 1>just couldn't read it and not pick it up, you know.

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<v Speaker 2>Yeah, that was the toly. So shall we talk history.

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<v Speaker 1>Let's talk history, Chuck.

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<v Speaker 2>All right, well we got we have to talk about

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<v Speaker 2>EC Comics. It was short for Education Comics, founded in

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<v Speaker 2>forty four by a guy named Maxwell Gaines, who was

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<v Speaker 2>one of the progenitors of comic books period, and EC

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<v Speaker 2>Comics was ended up merging with Detective Comics. But I

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<v Speaker 2>hope I didn't get this wrong to form what we

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<v Speaker 2>knew later on as DCAY and from the Maxwell gain

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<v Speaker 2>side and from EC Comics we got titles like The

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<v Speaker 2>Flash and Hawkman, Green Lantern and Wonder Women were probably

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<v Speaker 2>the biggest ones. And I guess I should say this

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<v Speaker 2>was the original incarnation as all American publications, right, and

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<v Speaker 2>then later became EC.

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<v Speaker 1>Yes, But those characters he helped bring to reality. Yeah,

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<v Speaker 1>So he was a legend in the field, still is

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<v Speaker 1>in the field of comics. But he died early, I guess,

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<v Speaker 1>fairly youngish and at least suddenly I think I saw

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<v Speaker 1>a boat accident or something like that. And his son,

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<v Speaker 1>William Gaines Bill Gaines, took over the family business, and

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<v Speaker 1>he had slightly different tastes than his father. He wasn't

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<v Speaker 1>really interested in printing religious tracts or comics that featured

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<v Speaker 1>people who were hurting you know, camels and sheep and

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<v Speaker 1>talking about God. He wanted to basically go in the

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<v Speaker 1>exact opposite direction, so he changed the name of EC

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<v Speaker 1>from Education Comics Entertainment Comics, and he started publishing what

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<v Speaker 1>became some of the most notorious, gory, violent, gleefully sick

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<v Speaker 1>horror magazines around.

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<v Speaker 2>Yeah, it was. It was sort of a way to

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<v Speaker 2>stand out because comics were huge, huge business. I think

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<v Speaker 2>by the nineteen fifties there were about one point two

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<v Speaker 2>billion comics sold a year.

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<v Speaker 1>That's like the number of podcasts now.

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<v Speaker 2>Yeah, exactly. In twenty five percent were crime and horror,

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<v Speaker 2>well kind of like podcasts actually, and so easy you know,

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<v Speaker 2>Tales from the crypt We have Easy to thank for that,

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<v Speaker 2>and just lots of that. You know. You could sort

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<v Speaker 2>of see the foundation of MAD being laid, even though

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<v Speaker 2>MAD didn't do horror sci fi per se. Of course,

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<v Speaker 2>they dabbled in that and satire, but they started to

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<v Speaker 2>tackle things with themes like you know, racism and police

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<v Speaker 2>corruption and bigotry and stuff like that.

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<v Speaker 1>Yeah, so there's like the contours of teaching kids like hey,

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<v Speaker 1>these things exist. But it was in the form of

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<v Speaker 1>like horror comics or war comics or Cowboy comics or

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<v Speaker 1>something like that, right, yeah, yeah, And so this is

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<v Speaker 1>a time where I mean we're talking the early fifties, right,

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<v Speaker 1>this is like Pleasantville type America, and they're talking about

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<v Speaker 1>like drug addiction and stuff to ten and twelve year old.

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<v Speaker 1>So it was pretty groundbreaking what they were doing. And

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<v Speaker 1>they because of that, they drew the attention of the

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<v Speaker 1>moral panic that started to erupt over comic books that

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<v Speaker 1>apparently was brought on by a psychiatrist named Frederic or

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<v Speaker 1>Friedrich Wertham Vertum probably Fredrick Wortham, but he wrote a

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<v Speaker 1>book called Seduction of the Innocent and then he specifically

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<v Speaker 1>called out some of the ec comics and described, you know,

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<v Speaker 1>what was going on in them, and it was basically saying,

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<v Speaker 1>comic books are corrupting our youth. They're the reason that

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<v Speaker 1>juvenile delinquents exist. It's comic books. And the Senate and

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<v Speaker 1>Congress said, oh, we should, we should look into this. Then.

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<v Speaker 2>Yeah, so you know, they formed a Senate subcommittee in

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<v Speaker 2>spring of nineteen fifty four, as they do as they do,

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<v Speaker 2>and that Wortham or Wam as you I think probably

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<v Speaker 2>correctly pronounced thanks. He kind of opened up by saying

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<v Speaker 2>this is one original quote. I hate to say it's senator,

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<v Speaker 2>but I think Hitler was a beginner. Compared to the

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<v Speaker 2>comic book industry, they get the children much younger, so

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<v Speaker 2>you can kind of see the hysteria going on of

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<v Speaker 2>what they call the comic book menace.

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<v Speaker 1>Plus completely ignoring the Hitler youth right exactly.

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<v Speaker 2>And one very famous exchange that if you look up

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<v Speaker 2>anything on this these subcommittee hearings came between Gaines's son, who,

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<v Speaker 2>like you said, took over for Pops, and a senator

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<v Speaker 2>named Estes Kefalver Keith Keith Walver hm not Cafalver, Keith Aalver.

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<v Speaker 1>I think it was Keith Aver. I can't remember if

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<v Speaker 1>this is the thing. Miss Keith fav hearings or if

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<v Speaker 1>he held some other stuff, but he he was. He

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<v Speaker 1>liked to hold hearings from what I understand.

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<v Speaker 2>Of course, he was a Democrat from Tennessee. And there

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<v Speaker 2>was one exchange between Gaines and Keith Aalber where he says,

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<v Speaker 2>where they're talking about, you know, one of the covers,

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<v Speaker 2>and he said, this seems to be a man with

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<v Speaker 2>a bloody axe holding a woman's head up which has

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<v Speaker 2>been severed. From her body. Do you think this is

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<v Speaker 2>in good taste? And this is after Gaines had already said,

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<v Speaker 2>you know, our limit is to publish within the bounds

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<v Speaker 2>of good taste. Uh huh. And Gaines said, yes, sir,

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<v Speaker 2>I do. For the cover of a horror comic, a

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<v Speaker 2>cover in bad taste, for example, might be defined as

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<v Speaker 2>holding the head a little higher so that the net

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<v Speaker 2>can be seen dripping blood from it, and moving the

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<v Speaker 2>body over a little further so that the neck of

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<v Speaker 2>the body could be seen to be bloody. And the

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<v Speaker 2>senator said, you have blood coming out of her mouth,

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<v Speaker 2>and gain says a little And Keithalver says, here is

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<v Speaker 2>blood on the acts. I think most adults are shocked

0:12:59.679 --> 0:13:03.080
<v Speaker 2>by that. So that was a very famous exchange where

0:13:03.160 --> 0:13:07.120
<v Speaker 2>Gaines he went on to basically make the point in

0:13:07.240 --> 0:13:09.439
<v Speaker 2>what may have been the first you know, mic drop.

0:13:10.920 --> 0:13:13.320
<v Speaker 2>I won't read the whole quote, but he basically is

0:13:13.360 --> 0:13:18.040
<v Speaker 2>talking about the fact of juvenile delinquency. He said, it's

0:13:18.080 --> 0:13:21.000
<v Speaker 2>a product of real environment in which the child lives,

0:13:21.040 --> 0:13:23.880
<v Speaker 2>and not the fiction he reads. There are many problems

0:13:23.880 --> 0:13:26.679
<v Speaker 2>that reach our children today. The problems are economic and social,

0:13:27.080 --> 0:13:30.320
<v Speaker 2>and they are complex, And he was right but it

0:13:30.320 --> 0:13:31.320
<v Speaker 2>didn't matter. No.

0:13:31.720 --> 0:13:34.360
<v Speaker 1>I mean, looking back seventy five years later, you're just

0:13:34.440 --> 0:13:36.280
<v Speaker 1>kind of like, oh, that's neat that that happened. But

0:13:36.679 --> 0:13:40.000
<v Speaker 1>if you kind of put yourself in this moment, Bill

0:13:40.080 --> 0:13:43.080
<v Speaker 1>Gaines was the only comic book publisher, as far as

0:13:43.120 --> 0:13:45.080
<v Speaker 1>I could tell, who is willing to step up to

0:13:45.120 --> 0:13:47.760
<v Speaker 1>the Senate and be like, no, this is all wrong.

0:13:47.880 --> 0:13:51.720
<v Speaker 1>This guy's a crackpot. We actually have real societal problems

0:13:51.760 --> 0:13:54.080
<v Speaker 1>that are causing juvenile delinquency, and you guys are coming

0:13:54.120 --> 0:13:57.880
<v Speaker 1>after comic books. He took on the Senate, or at

0:13:57.960 --> 0:14:00.440
<v Speaker 1>least the Senate Committee, and it was a They were

0:14:00.559 --> 0:14:03.040
<v Speaker 1>very public hearings, and he stepped up when no one

0:14:03.040 --> 0:14:05.680
<v Speaker 1>else would. And I read an account of the whole

0:14:05.679 --> 0:14:09.480
<v Speaker 1>thing on the Comics Association site and they said that

0:14:09.600 --> 0:14:12.760
<v Speaker 1>at first he was just killing it, but then he

0:14:12.880 --> 0:14:15.480
<v Speaker 1>started to kind of slow down, lose focus, and he

0:14:15.600 --> 0:14:18.240
<v Speaker 1>ended up getting pummeled by the senators, and some of

0:14:18.280 --> 0:14:21.400
<v Speaker 1>his less desirable quotes ended up on the front page

0:14:21.440 --> 0:14:24.200
<v Speaker 1>of the New York Times. They equated it to him

0:14:24.280 --> 0:14:28.120
<v Speaker 1>taking Benza Dream too early so that he peaked and

0:14:28.200 --> 0:14:31.280
<v Speaker 1>started to get tired during the hearings. Because the hearings

0:14:31.280 --> 0:14:36.080
<v Speaker 1>were postponed, but regardless he got he was defeated. And

0:14:36.240 --> 0:14:39.240
<v Speaker 1>some people actually say, if he hadn't drummed up all

0:14:39.360 --> 0:14:41.720
<v Speaker 1>that attention and drew the ire of the Senate, who

0:14:41.720 --> 0:14:44.840
<v Speaker 1>knows what would have happened. But the upshot was that

0:14:44.920 --> 0:14:49.480
<v Speaker 1>the comic book publishers got together and said, who whoa, whoa,

0:14:49.600 --> 0:14:51.440
<v Speaker 1>You guys don't have to censor us. We don't need

0:14:51.440 --> 0:14:53.880
<v Speaker 1>government sensors. We can do this ourselves. We're going to

0:14:53.960 --> 0:14:58.240
<v Speaker 1>create the Comic Magazine Association of America, and within that,

0:14:58.440 --> 0:15:01.520
<v Speaker 1>we're going to create a committee, a review board called

0:15:01.560 --> 0:15:05.800
<v Speaker 1>the Comic Code Authority, and every single comic book that

0:15:05.880 --> 0:15:08.800
<v Speaker 1>is published in this country will be reviewed and either

0:15:08.840 --> 0:15:12.040
<v Speaker 1>given a stamp of approval or rejected by the Comics

0:15:12.120 --> 0:15:15.360
<v Speaker 1>Code Authority. And you can rely on us. Just stay

0:15:15.400 --> 0:15:15.840
<v Speaker 1>out of this.

0:15:16.600 --> 0:15:20.160
<v Speaker 2>Yeah, and this was this is about three months in

0:15:20.280 --> 0:15:24.440
<v Speaker 2>change after the end of the hearings, so they were

0:15:25.400 --> 0:15:28.520
<v Speaker 2>clearly kind of working on this. You know, I doubt

0:15:28.520 --> 0:15:30.440
<v Speaker 2>if they just threw that together last second, like they

0:15:30.440 --> 0:15:33.320
<v Speaker 2>saw the writing on the wall and got together. And

0:15:33.680 --> 0:15:36.480
<v Speaker 2>you know, this was good in a way because it

0:15:36.560 --> 0:15:38.440
<v Speaker 2>kept the Senate out of their business. But what it

0:15:38.480 --> 0:15:41.280
<v Speaker 2>also did was kind of self censor because you couldn't

0:15:41.720 --> 0:15:45.040
<v Speaker 2>all of a sudden get a comic out there unless

0:15:45.040 --> 0:15:48.240
<v Speaker 2>it had this stamp of approval from the Code Authority,

0:15:48.880 --> 0:15:51.960
<v Speaker 2>and if it had the word weird or crime or

0:15:52.120 --> 0:15:55.800
<v Speaker 2>terror or horror just in the title, it was rejected

0:15:55.960 --> 0:15:56.680
<v Speaker 2>right off the bat.

0:15:56.880 --> 0:16:01.440
<v Speaker 1>Yes, so the I mean, the choice was clear. It

0:16:01.480 --> 0:16:05.560
<v Speaker 1>was either you know, fold your operation or start submitting

0:16:05.600 --> 0:16:09.120
<v Speaker 1>to these standards that the Comic Code Authority is laying

0:16:09.160 --> 0:16:14.320
<v Speaker 1>down now. And Bill Gaines said, We're okay, that's it.

0:16:14.360 --> 0:16:17.400
<v Speaker 1>We're just not going to publish those comic books anymore.

0:16:18.200 --> 0:16:22.080
<v Speaker 1>And he stopped publishing almost every single comic book he

0:16:22.160 --> 0:16:25.240
<v Speaker 1>had except for one. There was one comic book that

0:16:25.280 --> 0:16:28.000
<v Speaker 1>they had released previously, and it was a humor comic

0:16:28.400 --> 0:16:31.760
<v Speaker 1>and it was called Tales Calculated to Drive You Mad.

0:16:32.560 --> 0:16:35.320
<v Speaker 1>And that was the origin of Mad Magazine. It was

0:16:35.520 --> 0:16:38.840
<v Speaker 1>a humor comic book. That was the one thing that

0:16:38.960 --> 0:16:42.040
<v Speaker 1>remained after Bill Gains burned down his entire comic book

0:16:42.080 --> 0:16:45.960
<v Speaker 1>publishing empire. Rather than submit to censorship, you forgot the

0:16:46.000 --> 0:16:49.440
<v Speaker 1>colon I was leaving that for you.

0:16:49.520 --> 0:16:51.440
<v Speaker 2>Calculated to drive you mad. And by the way, mad

0:16:51.520 --> 0:16:55.600
<v Speaker 2>is always in all caps colon humor in a jugular vein.

0:16:57.400 --> 0:17:02.480
<v Speaker 1>Good. It is good. So it's not an overstatement to

0:17:02.480 --> 0:17:05.320
<v Speaker 1>say that Bill Gaines was a bit of a hero

0:17:05.640 --> 0:17:08.879
<v Speaker 1>for being willing to stand up to, you know, a

0:17:08.960 --> 0:17:11.959
<v Speaker 1>moral panic and put himself out there is potentially the

0:17:11.960 --> 0:17:15.200
<v Speaker 1>face of, you know, the evil that everybody was worried about,

0:17:15.240 --> 0:17:17.560
<v Speaker 1>and then just saying like, Okay, I lost, but I'm

0:17:17.600 --> 0:17:20.119
<v Speaker 1>not going to just you know, if you beat you

0:17:20.160 --> 0:17:21.800
<v Speaker 1>beat me, but that doesn't mean I'm going to join you.

0:17:21.800 --> 0:17:23.560
<v Speaker 1>I'm going to go figure out another way to do it.

0:17:23.600 --> 0:17:25.600
<v Speaker 1>So he just kept going in a different direction.

0:17:26.400 --> 0:17:30.960
<v Speaker 2>All right. I think that's a very robust setup for us.

0:17:32.359 --> 0:17:34.920
<v Speaker 2>So we're gonna collect our thoughts and we'll be right

0:17:34.960 --> 0:18:05.920
<v Speaker 2>back jogging job. I know we're going to talk about

0:18:05.960 --> 0:18:10.280
<v Speaker 2>things we love with Mad. But two movie parodies that

0:18:10.320 --> 0:18:12.800
<v Speaker 2>really stood out were movies that I didn't even see

0:18:12.800 --> 0:18:16.159
<v Speaker 2>at the time, actually three of them. And that was

0:18:16.240 --> 0:18:17.840
<v Speaker 2>kind of the fun thing about Mad is I wasn't

0:18:17.840 --> 0:18:20.280
<v Speaker 2>allowed to see some of this stuff. Oh okay, but

0:18:20.440 --> 0:18:25.400
<v Speaker 2>I could read the parody, so I remember crime More

0:18:25.480 --> 0:18:30.040
<v Speaker 2>versus crime More instead of Kramer versus Kramer was a

0:18:30.040 --> 0:18:34.919
<v Speaker 2>big one. Being not all there for being there and

0:18:35.240 --> 0:18:38.119
<v Speaker 2>the one for the Shining, and I can't remember it

0:18:38.160 --> 0:18:41.000
<v Speaker 2>wasn't the Shinning that was the simbsence. I can't remember

0:18:41.040 --> 0:18:42.760
<v Speaker 2>what it was called. But I remember reading the Shining

0:18:42.800 --> 0:18:44.399
<v Speaker 2>parody too, like long before I could see that.

0:18:44.520 --> 0:18:46.200
<v Speaker 1>Oh man, I want to read that one. I'll bet

0:18:46.240 --> 0:18:47.640
<v Speaker 1>it was just legendary.

0:18:48.040 --> 0:18:48.800
<v Speaker 2>Yeah, it was good.

0:18:48.880 --> 0:18:51.280
<v Speaker 1>I don't remember any particular ones, but I mean I

0:18:51.359 --> 0:18:54.120
<v Speaker 1>know that there were ones on like Alf and Rambo

0:18:54.359 --> 0:18:55.640
<v Speaker 1>and see here.

0:18:55.600 --> 0:18:58.080
<v Speaker 2>Were just after me. Yeah, combined, we have a really

0:18:58.119 --> 0:18:58.880
<v Speaker 2>good swatch.

0:18:59.200 --> 0:19:03.600
<v Speaker 1>But they would also do like like adult stuff. This

0:19:03.760 --> 0:19:05.760
<v Speaker 1>wasn't like they weren't like what's the cool movie with

0:19:05.800 --> 0:19:07.960
<v Speaker 1>teens right now? Like they did a cover one on

0:19:08.280 --> 0:19:11.679
<v Speaker 1>La law Well, Cramer versus Creamy, Kramer versus Creamer. It's

0:19:11.680 --> 0:19:14.920
<v Speaker 1>a great example too. But that's funny. That's like people

0:19:15.000 --> 0:19:17.879
<v Speaker 1>getting their news from the Daily Show. Today. You're getting

0:19:17.880 --> 0:19:19.920
<v Speaker 1>to watch movies that you weren't allowed to see through

0:19:19.920 --> 0:19:20.760
<v Speaker 1>Mad magazine.

0:19:21.200 --> 0:19:23.520
<v Speaker 2>Yeah, well, and we'll kind of see why here in

0:19:23.600 --> 0:19:27.000
<v Speaker 2>a minute. That was a very nice setup. Actually think

0:19:27.080 --> 0:19:27.400
<v Speaker 2>so too.

0:19:27.440 --> 0:19:29.959
<v Speaker 1>My thoughts still aren't collected, though, so we might be

0:19:30.000 --> 0:19:30.840
<v Speaker 1>in trouble.

0:19:31.200 --> 0:19:34.439
<v Speaker 2>All right, So tales calculated to Drive You Mad is

0:19:34.480 --> 0:19:37.879
<v Speaker 2>the only title that Bill Gaines stuck with. He had

0:19:37.920 --> 0:19:42.520
<v Speaker 2>a cartoonist named from EC, named Harvey Kurtzman, who was

0:19:42.640 --> 0:19:46.000
<v Speaker 2>an army vet in World War Two and he did

0:19:46.080 --> 0:19:48.840
<v Speaker 2>military comics for EC, but kind of got tired of

0:19:48.840 --> 0:19:50.439
<v Speaker 2>this and was like, you know, I'm a funny guy,

0:19:50.440 --> 0:19:52.680
<v Speaker 2>I got a sense of humor. I'd rather work on

0:19:53.040 --> 0:19:55.840
<v Speaker 2>humor things because I'm a big fan of humor magazines.

0:19:56.560 --> 0:19:59.960
<v Speaker 2>And he said, why don't we spoof other comics, Like

0:20:00.080 --> 0:20:04.359
<v Speaker 2>do a comic that satirizes and spoofs comics, And so

0:20:04.400 --> 0:20:08.400
<v Speaker 2>they started doing that. They started spoofing horror comics, sci

0:20:08.440 --> 0:20:12.280
<v Speaker 2>fi comics. Bill Gains was beside himself. He thought it

0:20:12.320 --> 0:20:15.720
<v Speaker 2>was brilliant and mad sort of as we knew it

0:20:15.840 --> 0:20:18.119
<v Speaker 2>was really born when Kurtzman had that idea.

0:20:18.240 --> 0:20:20.760
<v Speaker 1>Yeah, And one of the reasons it was so brilliant

0:20:20.800 --> 0:20:23.879
<v Speaker 1>was because they were using the same artists and writers

0:20:24.280 --> 0:20:27.680
<v Speaker 1>who were creating those comics for the spoof. So they

0:20:27.680 --> 0:20:30.080
<v Speaker 1>were really like dead on and they looked like they

0:20:30.080 --> 0:20:32.479
<v Speaker 1>were supposed to look, and like they had this like

0:20:32.640 --> 0:20:35.280
<v Speaker 1>the in joke humor that of anybody who was a

0:20:35.280 --> 0:20:37.760
<v Speaker 1>fan of those comics. So it was a pretty cool

0:20:37.800 --> 0:20:41.760
<v Speaker 1>idea to start, and it was right up Kurtzman's alley

0:20:41.880 --> 0:20:43.720
<v Speaker 1>for sure, because he'd kind of got on board with

0:20:43.760 --> 0:20:46.280
<v Speaker 1>some of the other comics like war comics and stuff

0:20:46.320 --> 0:20:49.720
<v Speaker 1>like that. But it wasn't It was not a hit

0:20:49.920 --> 0:20:53.560
<v Speaker 1>out of the gate at all. It was apparently I

0:20:53.640 --> 0:20:57.479
<v Speaker 1>think issue number four in nineteen fifty three, that was

0:20:57.520 --> 0:21:02.680
<v Speaker 1>the one that really kind of caught everyone's attention because

0:21:02.720 --> 0:21:08.520
<v Speaker 1>they lampooned Superman with the pretty obvious title super Duperman.

0:21:09.440 --> 0:21:13.720
<v Speaker 1>But it's it's really involved and funny, and it's still today.

0:21:13.760 --> 0:21:15.159
<v Speaker 1>I was reading it this morning, I was like, this

0:21:15.240 --> 0:21:15.919
<v Speaker 1>is pretty funny.

0:21:16.600 --> 0:21:19.760
<v Speaker 2>Yeah, no, I agree that very first panel has a

0:21:19.880 --> 0:21:25.080
<v Speaker 2>super Duperman punching an old person on crutches. It was

0:21:25.200 --> 0:21:29.119
<v Speaker 2>very dark character. Clark Bent was the the you know,

0:21:29.160 --> 0:21:32.159
<v Speaker 2>the alter ego and the reason it's noteworthy because they

0:21:32.160 --> 0:21:35.120
<v Speaker 2>had Dave Ruce helped us with this. He pointed out

0:21:35.160 --> 0:21:38.560
<v Speaker 2>they had already done these spoofs like Flesh Garden and

0:21:38.800 --> 0:21:42.520
<v Speaker 2>dragged Net instead of Dragnet for the TV side, but

0:21:42.800 --> 0:21:45.800
<v Speaker 2>they got sued, well not sued, but they got a

0:21:45.800 --> 0:21:51.080
<v Speaker 2>cease and desist from DC Comics and sort of strysand

0:21:51.160 --> 0:21:55.439
<v Speaker 2>effect before strysand was knew that there was going to

0:21:55.440 --> 0:21:59.560
<v Speaker 2>be an effect named for her, right, it got attention

0:21:59.640 --> 0:22:02.160
<v Speaker 2>and all of a sudden, kids were reading these comic parodis.

0:22:02.240 --> 0:22:05.080
<v Speaker 1>Yeah, there was a good one in June nineteen fifty

0:22:05.080 --> 0:22:11.040
<v Speaker 1>four on Starchy, which was Archie, And I mean it

0:22:11.080 --> 0:22:16.240
<v Speaker 1>was again really like well drawn, really interesting if you

0:22:16.359 --> 0:22:19.679
<v Speaker 1>took a like a Archie and ran it through like

0:22:19.760 --> 0:22:21.760
<v Speaker 1>what would happen in the real world, but it's still

0:22:21.760 --> 0:22:24.280
<v Speaker 1>a parody. That's what they came up with. And like,

0:22:24.320 --> 0:22:27.399
<v Speaker 1>so comic books were incredibly popular at the time, Like

0:22:27.440 --> 0:22:31.560
<v Speaker 1>you were saying, they're billions being printed, right, Yeah, so

0:22:31.840 --> 0:22:35.439
<v Speaker 1>this magazine or this comic book was spoofing comic books.

0:22:35.480 --> 0:22:39.560
<v Speaker 1>So they just went in and just caught on like wildfire.

0:22:39.640 --> 0:22:42.480
<v Speaker 1>So this was the one that Bill Gaines had left

0:22:42.480 --> 0:22:45.280
<v Speaker 1>after he stopped publishing the horror comics and the Cowboy

0:22:45.320 --> 0:22:47.840
<v Speaker 1>comics and the war comics and the sci fi comics.

0:22:48.240 --> 0:22:51.919
<v Speaker 2>Yeah, and so you sort of hinted that, you know,

0:22:52.320 --> 0:22:54.800
<v Speaker 2>Kramer versus Cramer and La Law these were sort of

0:22:55.240 --> 0:22:59.239
<v Speaker 2>it wasn't necessarily stuff for kids, And that happened when

0:22:59.280 --> 0:23:04.000
<v Speaker 2>they made this, which from a comic book perioding and

0:23:04.040 --> 0:23:08.880
<v Speaker 2>satirizing other comic books to a magazine satirizing other magazines.

0:23:10.119 --> 0:23:13.399
<v Speaker 2>A couple of stories why this happened. One was that

0:23:14.240 --> 0:23:16.560
<v Speaker 2>Gaines was like, hey, listen, we're not going to be

0:23:16.600 --> 0:23:20.000
<v Speaker 2>under the Comic Code Authority if we turn ourselves into

0:23:20.040 --> 0:23:23.960
<v Speaker 2>a magazine. But apparently one of the real reasons that

0:23:24.240 --> 0:23:27.800
<v Speaker 2>wasn't as public was Harvey Kirchman wanted to do this.

0:23:28.600 --> 0:23:30.360
<v Speaker 2>He was sort of bored with a comic book thing,

0:23:31.200 --> 0:23:35.560
<v Speaker 2>wanted to get into magazines, and so to keep Kertzman around,

0:23:35.600 --> 0:23:39.480
<v Speaker 2>who was just a key early COG, switched to a

0:23:39.560 --> 0:23:42.560
<v Speaker 2>larger format, to a glossy magazine, and all of a

0:23:42.560 --> 0:23:47.040
<v Speaker 2>sudden they were spoofing magazines. And Kurtzman specifically even said

0:23:47.880 --> 0:23:49.879
<v Speaker 2>for the past two years now, Matt has been dulling

0:23:49.880 --> 0:23:52.159
<v Speaker 2>the senses of the country's youth. Now we get to

0:23:52.160 --> 0:23:56.000
<v Speaker 2>work on the adults, right, even though I mean, I'm

0:23:56.000 --> 0:23:58.680
<v Speaker 2>sure there were some adults reading it, but every kid

0:23:58.720 --> 0:24:00.000
<v Speaker 2>I knew read it.

0:23:59.720 --> 0:24:04.959
<v Speaker 1>But it did definitely like update their readership into a

0:24:05.000 --> 0:24:09.240
<v Speaker 1>slightly higher age category from you know, I think teenagers

0:24:09.280 --> 0:24:11.959
<v Speaker 1>read comic books back then, but this was like, you know,

0:24:12.000 --> 0:24:14.960
<v Speaker 1>you could find teenagers and now maybe college kids reading

0:24:15.000 --> 0:24:18.480
<v Speaker 1>it as well because it was just geared slightly differently

0:24:18.560 --> 0:24:21.720
<v Speaker 1>just by default, because it was parodying other magazines. Right,

0:24:22.400 --> 0:24:28.119
<v Speaker 1>So Harvey Kurtzman has like fans still today who are like,

0:24:28.160 --> 0:24:31.040
<v Speaker 1>if Kurtzman had never left, who knows how great Mad

0:24:31.080 --> 0:24:34.520
<v Speaker 1>magazine would have been, because he was a perfectionist genius,

0:24:34.920 --> 0:24:39.000
<v Speaker 1>which was his undoing, Like apparently he would miss publication

0:24:39.160 --> 0:24:43.080
<v Speaker 1>dates because he was just tinkering with stuff endlessly. Everything

0:24:43.200 --> 0:24:45.520
<v Speaker 1>needed to be tinkered with, and apparently he was really

0:24:45.520 --> 0:24:47.679
<v Speaker 1>good at it. I read an article or an interview

0:24:47.680 --> 0:24:52.040
<v Speaker 1>with Al Jaffey, who is the longest running cartoonists at MAD,

0:24:52.960 --> 0:24:55.359
<v Speaker 1>and he was saying, like Kurtzman was the best editor

0:24:55.400 --> 0:24:59.560
<v Speaker 1>he'd ever worked with, but everything needed editing, everything needed tinkering,

0:24:59.640 --> 0:25:04.920
<v Speaker 1>which ma everything delayed and more expensive. And the reason

0:25:05.000 --> 0:25:07.280
<v Speaker 1>Kurtzman left was not because Gaines said, hey, you need

0:25:07.320 --> 0:25:10.560
<v Speaker 1>to to rain all this in or fired him or anything,

0:25:10.760 --> 0:25:15.600
<v Speaker 1>but Gains very wisely retained editorial control. So Kritsman had

0:25:15.640 --> 0:25:17.960
<v Speaker 1>to go ask Gains for everything, and Chrismin did not

0:25:18.160 --> 0:25:21.800
<v Speaker 1>like that. Geniuses typically don't like that kind of thing,

0:25:22.119 --> 0:25:23.840
<v Speaker 1>and so he struck out on his own after just

0:25:23.880 --> 0:25:24.639
<v Speaker 1>a couple of years.

0:25:25.320 --> 0:25:27.520
<v Speaker 2>Yeah, and you know this is you know, when they

0:25:27.560 --> 0:25:30.080
<v Speaker 2>made that switch to the magazine, This is when they

0:25:30.200 --> 0:25:32.960
<v Speaker 2>all of a sudden could do like TV shows and movies.

0:25:33.280 --> 0:25:36.720
<v Speaker 2>They got a whole lot more political and then as

0:25:36.720 --> 0:25:39.760
<v Speaker 2>we'll see song periods and stuff like that. Another big,

0:25:40.520 --> 0:25:46.280
<v Speaker 2>sort of long standing tradition with Mad was skewing marketing

0:25:46.359 --> 0:25:51.199
<v Speaker 2>and pr and advertising, and they because they didn't have ads.

0:25:51.280 --> 0:25:53.040
<v Speaker 2>And that was one of the things I loved about Mad,

0:25:53.200 --> 0:25:55.520
<v Speaker 2>even though it cost a little more, is that every

0:25:55.600 --> 0:25:59.360
<v Speaker 2>page was you know, some things were funnier than others, obviously,

0:25:59.400 --> 0:26:02.760
<v Speaker 2>but every page each had funny content on it. The

0:26:03.160 --> 0:26:07.760
<v Speaker 2>spoof ads, to me, were great. Everything they did was

0:26:08.480 --> 0:26:10.880
<v Speaker 2>funny because they didn't have to just sort of bow

0:26:10.960 --> 0:26:14.359
<v Speaker 2>to the advertiser. And it really would have been I

0:26:14.359 --> 0:26:17.520
<v Speaker 2>don't never saw any post two thousand and one editions.

0:26:18.080 --> 0:26:20.840
<v Speaker 2>It would be really weird for me to see a

0:26:20.840 --> 0:26:24.320
<v Speaker 2>Mad magazine with a legitimate advertisement in it. I wouldn't know.

0:26:24.720 --> 0:26:26.920
<v Speaker 2>I would look for the jokes still, somebody.

0:26:26.800 --> 0:26:29.080
<v Speaker 1>Yeah, it's a little mind warping when you were used

0:26:29.119 --> 0:26:32.840
<v Speaker 1>to it for decades, totally, you know not And yeah,

0:26:32.840 --> 0:26:34.359
<v Speaker 1>that was a big part of it too. It's like,

0:26:34.760 --> 0:26:38.359
<v Speaker 1>I mean, that's probably the most ubiquitous way people are

0:26:38.400 --> 0:26:41.040
<v Speaker 1>lied to on a daily basis is through advertising. So

0:26:41.480 --> 0:26:44.399
<v Speaker 1>it was essential that they lampoon ads too, just to

0:26:44.840 --> 0:26:47.440
<v Speaker 1>They couldn't just leave those alone. It would have been

0:26:48.040 --> 0:26:52.080
<v Speaker 1>distinctly impure, and neither Harvey Kurtzman nor Bill gains would

0:26:52.080 --> 0:26:53.280
<v Speaker 1>have stood for that for sure.

0:26:54.119 --> 0:26:58.399
<v Speaker 2>All Right, So Kurtzman and Leaves in nineteen fifty six,

0:26:59.359 --> 0:27:01.040
<v Speaker 2>this is what you were talking about with Hugh Heffner.

0:27:01.119 --> 0:27:05.800
<v Speaker 2>He had his satirical humor magazine called Trump Believe it

0:27:05.880 --> 0:27:10.240
<v Speaker 2>or Not, four issues. Then he went on to work

0:27:10.320 --> 0:27:12.720
<v Speaker 2>for the other one you mentioned, Humbug, which was only

0:27:12.760 --> 0:27:16.520
<v Speaker 2>about eleven issues. But he, you know, like you said,

0:27:16.560 --> 0:27:19.560
<v Speaker 2>he still has people that sort of bowed him today

0:27:19.600 --> 0:27:23.840
<v Speaker 2>because he laid the groundwork and the foundation for sort

0:27:23.880 --> 0:27:25.520
<v Speaker 2>of satire as we know it today.

0:27:25.640 --> 0:27:29.879
<v Speaker 1>Yeah. He also went on to create a longstanding Playboy

0:27:29.920 --> 0:27:34.680
<v Speaker 1>cartoon from the sixties to the seventies called Little Annie Fanny,

0:27:35.320 --> 0:27:37.920
<v Speaker 1>and it was just a dirty cartoon that apparently, yeah,

0:27:38.359 --> 0:27:41.960
<v Speaker 1>really fulfilled him as an artist. But yeah, he was

0:27:42.000 --> 0:27:44.960
<v Speaker 1>just a legend, just as much as like Bill Gaines

0:27:45.040 --> 0:27:49.320
<v Speaker 1>was maybe more in some circles for sure, but after Kurtzman,

0:27:49.760 --> 0:27:54.000
<v Speaker 1>and Kurtzman is very much credited with establishing the tone,

0:27:54.200 --> 0:27:58.080
<v Speaker 1>the voice, the idea behind MAD that was carried on

0:27:58.480 --> 0:28:05.919
<v Speaker 1>essentially until twenty eighteen, maybe as we'll see, but and

0:28:06.000 --> 0:28:10.560
<v Speaker 1>in turn also creating laying the foundation for American sattire

0:28:11.000 --> 0:28:14.639
<v Speaker 1>to come. Right after that, a guy named Al Feldstein

0:28:15.040 --> 0:28:19.040
<v Speaker 1>came on board, and I get the impression a little

0:28:19.080 --> 0:28:22.240
<v Speaker 1>more of a workhorse and a little less of a

0:28:22.720 --> 0:28:27.200
<v Speaker 1>endlessly tinkering perfectionist. And he brought on some of the

0:28:27.280 --> 0:28:31.439
<v Speaker 1>names that you are familiar with, like Mort Drucker and

0:28:31.520 --> 0:28:36.320
<v Speaker 1>Al Jaffy and Don Martin and just these longtime MAD contributors.

0:28:37.680 --> 0:28:44.280
<v Speaker 1>They came on under Al Feldstein's overseeing ship. You like that,

0:28:44.400 --> 0:28:45.600
<v Speaker 1>Huh yeah?

0:28:45.640 --> 0:28:49.480
<v Speaker 2>Sure. In fact, Senate committees should not be committees on

0:28:49.520 --> 0:28:52.080
<v Speaker 2>oversight anymore. They should be on overseeing ship.

0:28:52.680 --> 0:28:54.840
<v Speaker 1>I agree, it's got a little more flair to it.

0:28:55.880 --> 0:29:00.200
<v Speaker 2>So Feldstein, one of the key things, besides, like you said,

0:29:00.280 --> 0:29:05.760
<v Speaker 2>hiring you some legendary staff, was bringing on a legendary mascot,

0:29:05.840 --> 0:29:10.200
<v Speaker 2>and that is Alfredy Newman. He named Alfredy Newman or

0:29:10.280 --> 0:29:13.520
<v Speaker 2>attached that name. Apparently that was a kind of a pseudonym.

0:29:13.720 --> 0:29:15.800
<v Speaker 2>They used a lot of kind of goofy, funny pseudonyms

0:29:15.840 --> 0:29:18.720
<v Speaker 2>in the office for different things. ALFREDY Newman was one

0:29:18.760 --> 0:29:22.880
<v Speaker 2>of them. But if you don't know anything about Mad

0:29:22.920 --> 0:29:26.320
<v Speaker 2>magazine and you've never picked up an issue, you still

0:29:26.360 --> 0:29:31.040
<v Speaker 2>probably can look at the little little Opie Taylor, redheaded,

0:29:31.280 --> 0:29:35.880
<v Speaker 2>gap tooth, big eared. Well, I was about to say kid,

0:29:35.920 --> 0:29:40.200
<v Speaker 2>but it was always hard to determine Alfredy Newman's age

0:29:40.240 --> 0:29:41.600
<v Speaker 2>in a way, and that was part of the fun,

0:29:41.640 --> 0:29:46.240
<v Speaker 2>I guess. But that was the mascot. They wanted a mascot,

0:29:47.440 --> 0:29:50.960
<v Speaker 2>they got one, along with the the I don't know

0:29:51.000 --> 0:29:54.880
<v Speaker 2>what you would call it a slogan, yeah, catchphrase, which

0:29:54.920 --> 0:29:58.040
<v Speaker 2>is what me worry? What comma me worry?

0:29:58.040 --> 0:30:00.719
<v Speaker 1>Oh that's funny. I always read it as what me worry?

0:30:01.760 --> 0:30:05.520
<v Speaker 1>Oh yeah, yeah, Wow, Well you're we got two different brains, huh.

0:30:06.960 --> 0:30:08.840
<v Speaker 2>I guess, so, I mean still the same thing.

0:30:08.680 --> 0:30:09.760
<v Speaker 1>Really, I guess.

0:30:10.000 --> 0:30:13.080
<v Speaker 2>So he was the first one to bring that image.

0:30:13.720 --> 0:30:18.320
<v Speaker 2>I believe the first cover was issue number twenty five,

0:30:19.280 --> 0:30:21.880
<v Speaker 2>but he had been sort of used in the magazine

0:30:22.000 --> 0:30:26.800
<v Speaker 2>previous to that, and in the mid seventies there was

0:30:26.840 --> 0:30:28.800
<v Speaker 2>an interview where he said, you know, I got this

0:30:28.880 --> 0:30:33.560
<v Speaker 2>thing from this postcard in the early nineteen fifties that

0:30:33.680 --> 0:30:38.000
<v Speaker 2>had the caption me Worry, I like that me y,

0:30:38.800 --> 0:30:43.320
<v Speaker 2>Yeah exactly. And in nineteen sixty five this and of

0:30:43.360 --> 0:30:45.920
<v Speaker 2>course this is you know, ten years before he admitted this.

0:30:46.040 --> 0:30:49.800
<v Speaker 2>But in nineteen sixty five Man was actually sued by

0:30:49.880 --> 0:30:53.360
<v Speaker 2>the widow of a cartoonist named Harry Spencer, who said, Hey,

0:30:53.880 --> 0:30:55.840
<v Speaker 2>this postcard that you're going to talk about in ten

0:30:55.920 --> 0:30:59.959
<v Speaker 2>years was stolen from my husband's work and he's had

0:31:00.160 --> 0:31:03.240
<v Speaker 2>this copyright since nineteen fourteen. It's the name of the character,

0:31:03.320 --> 0:31:07.680
<v Speaker 2>is the original Optimist or the me worry guy and

0:31:08.200 --> 0:31:11.080
<v Speaker 2>mad and fighting the lawsuit said all right, listen, we

0:31:11.160 --> 0:31:14.440
<v Speaker 2>know this image has been used before besides us, so

0:31:14.640 --> 0:31:19.240
<v Speaker 2>readers find uses of Alfredy Newman out there. And they

0:31:19.280 --> 0:31:22.440
<v Speaker 2>came back with a bunch dating back to the nineteenth century.

0:31:22.560 --> 0:31:25.000
<v Speaker 1>Yeah, they traced it all the way back. There was

0:31:25.080 --> 0:31:29.760
<v Speaker 1>a couple of historians that are mentioned in a Paris

0:31:29.840 --> 0:31:34.440
<v Speaker 1>Review article. It's really interesting. It chronicles the evolution of

0:31:34.520 --> 0:31:38.240
<v Speaker 1>Alfredy Newman. But they traced it back to an eighteen

0:31:38.320 --> 0:31:42.320
<v Speaker 1>ninety four play called The New Boy. And they think

0:31:42.400 --> 0:31:47.440
<v Speaker 1>that it's probable that the character that look that face

0:31:47.840 --> 0:31:50.640
<v Speaker 1>is a mashup of the two actors that played the

0:31:50.720 --> 0:31:51.440
<v Speaker 1>lead in The.

0:31:51.360 --> 0:31:54.200
<v Speaker 2>New Boy, Ron Howard.

0:31:54.040 --> 0:31:57.959
<v Speaker 1>Yeah, Ron Howard and Ron Howard sor ye. And this

0:31:58.040 --> 0:32:00.520
<v Speaker 1>play like took America by storm. It was a big

0:32:00.560 --> 0:32:03.800
<v Speaker 1>deal in the late nineteenth century. These actors were very

0:32:03.880 --> 0:32:09.840
<v Speaker 1>much celebrated, and this character entered the pop culture and stayed.

0:32:10.240 --> 0:32:13.200
<v Speaker 1>But over time people forgot where he came from originally

0:32:13.320 --> 0:32:16.000
<v Speaker 1>until I mean, we're talking like the twenty ten's before

0:32:16.040 --> 0:32:19.280
<v Speaker 1>somebody said it goes as far back as this for sure.

0:32:20.080 --> 0:32:22.720
<v Speaker 2>Yeah, and Dave was kind of enough to include a

0:32:22.720 --> 0:32:25.840
<v Speaker 2>bunch of cool uses. There was an auto parts store

0:32:25.880 --> 0:32:28.880
<v Speaker 2>that used it, a soda Happy Jack soda in the

0:32:28.960 --> 0:32:33.080
<v Speaker 2>nineteen thirties, a pain reliever in nineteen oh eight, all

0:32:33.160 --> 0:32:35.760
<v Speaker 2>kinds of uses, and the judge basically was like, hey, listen,

0:32:36.440 --> 0:32:38.760
<v Speaker 2>this is in the public domain. Everyone is using this.

0:32:38.960 --> 0:32:41.280
<v Speaker 2>I don't know why, but everyone is using this goofy

0:32:41.280 --> 0:32:45.920
<v Speaker 2>guy's face. And the Mad magazine or I'm sorry, the

0:32:47.240 --> 0:32:51.800
<v Speaker 2>original affording human painting was by Norman Mingo, and for

0:32:52.080 --> 0:32:55.000
<v Speaker 2>Mad they had some pretty strict rules of usage, which

0:32:55.600 --> 0:32:59.320
<v Speaker 2>was you had to always have a forward, either a

0:32:59.360 --> 0:33:02.320
<v Speaker 2>forward face face like not from an angle or from

0:33:02.360 --> 0:33:05.640
<v Speaker 2>profile or anything like that, or just fully the back

0:33:05.680 --> 0:33:08.240
<v Speaker 2>of his head that had been done, and any other

0:33:08.640 --> 0:33:11.400
<v Speaker 2>usage of the face that was any different had to

0:33:11.440 --> 0:33:14.280
<v Speaker 2>go through what I sort of think was probably a

0:33:14.280 --> 0:33:18.440
<v Speaker 2>pretty strict like that was probably a pretty serious meeting

0:33:18.800 --> 0:33:21.080
<v Speaker 2>at Mad magazine. If they wanted to change that in

0:33:21.120 --> 0:33:21.400
<v Speaker 2>any way.

0:33:21.480 --> 0:33:24.480
<v Speaker 1>Yeah, they'd be like, convince us, why right, exactly. But

0:33:24.560 --> 0:33:28.240
<v Speaker 1>that's why that that Alfredy Newman is just so recognizable

0:33:28.280 --> 0:33:33.840
<v Speaker 1>even when he's Yeah, I remember he was Lindy England.

0:33:34.720 --> 0:33:38.840
<v Speaker 1>Wasn't that the private Abu Grabe who had the picture

0:33:38.840 --> 0:33:42.080
<v Speaker 1>of her taken like pointing, like with with gun fingers

0:33:42.160 --> 0:33:46.680
<v Speaker 1>at a like a naked, hooded, tortured prisoner.

0:33:47.200 --> 0:33:47.400
<v Speaker 2>Yeah.

0:33:47.440 --> 0:33:51.160
<v Speaker 1>Remember they did Alfredy Newman on the cover as her. Yeah,

0:33:51.160 --> 0:33:53.760
<v Speaker 1>and you knew exactly who he was spoofing, but you

0:33:53.800 --> 0:33:57.320
<v Speaker 1>also could totally see that it was Alfredy Newman. All

0:33:57.360 --> 0:33:59.800
<v Speaker 1>of it is because that Norman Mingo one just hit

0:33:59.840 --> 0:34:02.960
<v Speaker 1>it so perfectly out of the game that there was

0:34:03.040 --> 0:34:04.600
<v Speaker 1>just no reason to alter it at all.

0:34:05.440 --> 0:34:07.880
<v Speaker 2>Yeah, And I don't know, I never really thought about

0:34:08.200 --> 0:34:11.080
<v Speaker 2>it's so ubiquitous and so just sort of burned in

0:34:11.160 --> 0:34:14.560
<v Speaker 2>my brain. I was a kid, and it never occurred

0:34:14.560 --> 0:34:18.640
<v Speaker 2>to me just what brilliant branding that was to not

0:34:18.760 --> 0:34:23.120
<v Speaker 2>only just have this mascot and slogan, but to not

0:34:23.239 --> 0:34:25.839
<v Speaker 2>change it and have it appear in much the same

0:34:25.840 --> 0:34:29.160
<v Speaker 2>way every single time that you saw it, and you know,

0:34:29.200 --> 0:34:31.719
<v Speaker 2>as a kid you were being I remember when I

0:34:31.840 --> 0:34:35.040
<v Speaker 2>was first thinking about tattoos, I thought about getting Alfredy Newman.

0:34:36.480 --> 0:34:38.400
<v Speaker 2>I would like it more than what I ended up getting,

0:34:39.080 --> 0:34:41.480
<v Speaker 2>so I probably should have. But it was such a

0:34:41.520 --> 0:34:45.120
<v Speaker 2>sort of iconic and still is such an iconic brand mark.

0:34:45.280 --> 0:34:48.200
<v Speaker 1>Yeah. Same with the masthead too, the logo, the shape

0:34:48.200 --> 0:34:50.919
<v Speaker 1>of the letters spelling out MAD all caps, that kind

0:34:50.920 --> 0:34:53.359
<v Speaker 1>of thing just as much as him. The two went

0:34:53.400 --> 0:34:56.840
<v Speaker 1>together just so perfectly well for sure. Yeah, But because

0:34:57.480 --> 0:35:02.239
<v Speaker 1>they established that Harry's Spencer did not have any sort

0:35:02.239 --> 0:35:07.480
<v Speaker 1>of copyright over Alfredy Newman or over that kid, that image,

0:35:08.120 --> 0:35:12.560
<v Speaker 1>you could do and use Alfredy Newman yourself if you

0:35:12.600 --> 0:35:15.160
<v Speaker 1>wanted to be a big jerk, and Mad couldn't do

0:35:15.200 --> 0:35:17.840
<v Speaker 1>anything about it because they don't own the copyright to

0:35:17.880 --> 0:35:19.960
<v Speaker 1>the image. It's in the he's in the public domain.

0:35:20.480 --> 0:35:24.200
<v Speaker 1>But Alfredy Newman himself, any usage that has ever been

0:35:24.239 --> 0:35:27.480
<v Speaker 1>created for mad if you if you use that, they

0:35:27.520 --> 0:35:29.759
<v Speaker 1>could sue your pants off. It's just if you went

0:35:29.800 --> 0:35:32.400
<v Speaker 1>out and created a new ALFREDY Newman type named it

0:35:32.480 --> 0:35:36.080
<v Speaker 1>something different, then technically they couldn't do anything, but the

0:35:36.239 --> 0:35:38.240
<v Speaker 1>whole world would be mad at you. I think unless

0:35:38.280 --> 0:35:39.680
<v Speaker 1>it was really great.

0:35:40.400 --> 0:35:43.360
<v Speaker 2>I know a certain jerk in Kansas that's a pretty

0:35:43.360 --> 0:35:44.160
<v Speaker 2>great at photoshop.

0:35:45.120 --> 0:35:47.720
<v Speaker 1>And then one last thing about mister A. E. Newman.

0:35:48.040 --> 0:35:51.440
<v Speaker 1>That name was one of the hilarious, like made up

0:35:51.560 --> 0:35:54.840
<v Speaker 1>names that they would use to like sign fake letters

0:35:54.840 --> 0:35:58.839
<v Speaker 1>to the editor and that kind of stuff. That's where

0:35:58.920 --> 0:36:01.279
<v Speaker 1>they were like, I think this name goes with this

0:36:01.360 --> 0:36:02.120
<v Speaker 1>guy very.

0:36:01.920 --> 0:36:06.960
<v Speaker 2>Well, totally one of the mini pseudonyms. I was just kidding,

0:36:07.080 --> 0:36:09.279
<v Speaker 2>by the way about the jerk part. He knows who

0:36:09.280 --> 0:36:13.560
<v Speaker 2>he is, sure, and he'll laugh at this, you hope.

0:36:14.440 --> 0:36:14.759
<v Speaker 1>All right?

0:36:14.760 --> 0:36:17.640
<v Speaker 2>Should we take a break, I guess all right, we're

0:36:17.640 --> 0:36:22.080
<v Speaker 2>gonna come back and talk, probably too briefly about some

0:36:22.120 --> 0:36:24.920
<v Speaker 2>of these legendary staffers that they had for you know,

0:36:25.280 --> 0:36:26.319
<v Speaker 2>fifty years or so.

0:36:26.320 --> 0:36:27.640
<v Speaker 1>We're gonna staff it up.

0:36:46.280 --> 0:36:47.719
<v Speaker 2>Things and jogging job.

0:36:57.200 --> 0:37:00.399
<v Speaker 1>Okay, Chuck. So I mentioned ourselves as the usual gang

0:37:00.400 --> 0:37:03.440
<v Speaker 1>of videots. It's what everybody at Mad called themselves and

0:37:03.480 --> 0:37:06.239
<v Speaker 1>called the whole crew, and everybody was very happy to

0:37:07.080 --> 0:37:10.080
<v Speaker 1>be called that they were. Everybody had a really good

0:37:10.120 --> 0:37:12.480
<v Speaker 1>sense of humors another way to put it, most of them,

0:37:12.560 --> 0:37:17.080
<v Speaker 1>as we'll see. But I mentioned al Jaffe earlier and

0:37:17.239 --> 0:37:20.240
<v Speaker 1>he apparently holds the Guinness record for the longest career

0:37:20.280 --> 0:37:25.359
<v Speaker 1>as a comic artist. He started drawing for Mad in

0:37:25.520 --> 0:37:29.400
<v Speaker 1>nineteen fifty five. Yeah, and when did he retire.

0:37:31.040 --> 0:37:36.080
<v Speaker 2>He retired in twenty twenty and very sadly, I mean

0:37:36.400 --> 0:37:38.959
<v Speaker 2>say sadly because he passed away. But he passed away

0:37:39.040 --> 0:37:42.239
<v Speaker 2>at one hundred and two on April tenth of this year,

0:37:42.400 --> 0:37:44.960
<v Speaker 2>on twenty twenty three. So had a I mean just

0:37:45.000 --> 0:37:48.960
<v Speaker 2>a legend, what a life. Ended up going away with

0:37:49.080 --> 0:37:52.959
<v Speaker 2>Kurtzman when he did Trump and Humbug, but came back

0:37:53.000 --> 0:37:56.880
<v Speaker 2>to Mad magazine and was most well known for doing

0:37:56.920 --> 0:37:59.560
<v Speaker 2>the fold, in which if you if you know Mad,

0:37:59.600 --> 0:38:02.640
<v Speaker 2>you know the if you don't. It was the very

0:38:02.760 --> 0:38:06.200
<v Speaker 2>last interior page of the magazine, like the inside of

0:38:06.200 --> 0:38:09.400
<v Speaker 2>the back cover, basically where you would it was a

0:38:09.480 --> 0:38:12.160
<v Speaker 2>visual trick where you would fold you know, it would

0:38:12.160 --> 0:38:14.280
<v Speaker 2>be a picture and it would have text at the bottom,

0:38:14.719 --> 0:38:17.400
<v Speaker 2>and then when you folded it over in a certain way,

0:38:17.760 --> 0:38:20.680
<v Speaker 2>it would form a new picture, and not only that,

0:38:21.080 --> 0:38:24.120
<v Speaker 2>but all new texts, Like I can't imagine laying these

0:38:24.120 --> 0:38:27.960
<v Speaker 2>out was easy considering the text, like the picture is

0:38:28.000 --> 0:38:30.160
<v Speaker 2>one thing, but to lay it out and have it

0:38:30.280 --> 0:38:33.279
<v Speaker 2>say something different is a whole other thing.

0:38:33.360 --> 0:38:36.680
<v Speaker 1>And it also sents some like significant stuff too, like

0:38:36.719 --> 0:38:38.960
<v Speaker 1>it was often about like taxes or the government doing

0:38:39.000 --> 0:38:40.359
<v Speaker 1>something shady or something like that.

0:38:41.120 --> 0:38:45.000
<v Speaker 2>Yeah, the two would always be they would always sort

0:38:45.000 --> 0:38:48.640
<v Speaker 2>of link together. So whatever you had on that first

0:38:48.680 --> 0:38:51.960
<v Speaker 2>initial thing might be it was kind of set up

0:38:52.000 --> 0:38:54.520
<v Speaker 2>punchline basically, is how it worked for sure.

0:38:56.239 --> 0:38:59.200
<v Speaker 1>And he in that interview I read with him, he

0:38:59.200 --> 0:39:01.160
<v Speaker 1>said it take it to about two weeks to make

0:39:01.200 --> 0:39:04.520
<v Speaker 1>one of those things. I believe it, and that the

0:39:04.640 --> 0:39:08.440
<v Speaker 1>artists and I guess writers were all expected to produce

0:39:08.840 --> 0:39:12.080
<v Speaker 1>twenty and then later on twenty five pages of material

0:39:12.120 --> 0:39:15.520
<v Speaker 1>a year, and that was just the requirement. And if

0:39:15.520 --> 0:39:17.160
<v Speaker 1>you hit it, it's not like you or didn't hit it.

0:39:17.160 --> 0:39:19.799
<v Speaker 1>It's not like you were fired. But they did an

0:39:19.840 --> 0:39:23.560
<v Speaker 1>annual trip abroad for like a week or two, all

0:39:23.600 --> 0:39:26.600
<v Speaker 1>expenses paid by MAD and if you didn't hit your

0:39:27.080 --> 0:39:29.400
<v Speaker 1>your quota, you weren't on that trip.

0:39:31.239 --> 0:39:35.279
<v Speaker 2>Wow, it's pretty funny. I'm sure I'm not the only

0:39:35.360 --> 0:39:38.240
<v Speaker 2>kid who tried to guess what the fold end image

0:39:38.239 --> 0:39:41.319
<v Speaker 2>would be just by looking at the unfolded image. Sure,

0:39:41.880 --> 0:39:43.399
<v Speaker 2>I used to stare at that thing trying to guess

0:39:43.440 --> 0:39:47.360
<v Speaker 2>what it might be. And Jaffie was also popular for

0:39:47.719 --> 0:39:50.000
<v Speaker 2>something that I had, the little side books I bought

0:39:50.520 --> 0:39:52.800
<v Speaker 2>of snappy Answers to Stupid Questions?

0:39:52.800 --> 0:39:53.520
<v Speaker 1>Did you like those?

0:39:54.320 --> 0:39:54.799
<v Speaker 2>Loved them?

0:39:54.960 --> 0:39:58.160
<v Speaker 1>So? Do you have a favorite? Oh? No, okay, you

0:39:58.239 --> 0:39:58.760
<v Speaker 1>just loved.

0:39:58.600 --> 0:40:01.680
<v Speaker 2>Them all, like a favorite joker, a favorite book, a

0:40:01.719 --> 0:40:02.640
<v Speaker 2>favorite edition Anne.

0:40:02.640 --> 0:40:06.160
<v Speaker 1>Oh yeah, favorite snappy Answers to Stupid Questions page?

0:40:06.239 --> 0:40:06.799
<v Speaker 2>Do you have one?

0:40:06.960 --> 0:40:08.200
<v Speaker 1>No, I was just asking for you.

0:40:08.360 --> 0:40:10.279
<v Speaker 2>Okay, no, no, no, but I loved him.

0:40:10.320 --> 0:40:16.160
<v Speaker 1>Okay, what about So that's al Jaffy. That's right, We're

0:40:16.200 --> 0:40:18.600
<v Speaker 1>moving on to Dick Department. I've never known how to

0:40:18.640 --> 0:40:20.279
<v Speaker 1>say this man's name, Dick de.

0:40:20.440 --> 0:40:22.520
<v Speaker 2>Bartolow de Bartolo.

0:40:22.560 --> 0:40:25.239
<v Speaker 1>I think he was the one who wrote most of

0:40:25.280 --> 0:40:32.560
<v Speaker 1>the parodies of TV movies. Just essentially any satire of

0:40:33.239 --> 0:40:36.399
<v Speaker 1>like one of those two things was probably written by

0:40:36.440 --> 0:40:40.200
<v Speaker 1>him between nineteen sixty four to twenty seventeen.

0:40:41.160 --> 0:40:45.640
<v Speaker 2>Yeah, and de Bartolo was born in nineteen forty five,

0:40:45.920 --> 0:40:51.640
<v Speaker 2>so he was submitting by nineteen sixty one as a

0:40:51.719 --> 0:40:54.839
<v Speaker 2>like sixteen or seventeen year old and getting some of

0:40:54.840 --> 0:40:57.120
<v Speaker 2>that stuff in there. And the best I can figure

0:40:57.200 --> 0:40:59.799
<v Speaker 2>is he was kind of a full time staffer either

0:40:59.840 --> 0:41:01.000
<v Speaker 2>at twenty or twenty one.

0:41:01.080 --> 0:41:01.799
<v Speaker 1>It's really cool.

0:41:02.440 --> 0:41:04.920
<v Speaker 2>He's just a kid, and like you said, partner with

0:41:05.200 --> 0:41:09.120
<v Speaker 2>Mort Drucker and the great Angelo Taurus, who, as you

0:41:09.120 --> 0:41:11.680
<v Speaker 2>will see, is one of a sort of group of

0:41:11.760 --> 0:41:18.239
<v Speaker 2>legendary Latin American or Latin and then American writers. He

0:41:18.320 --> 0:41:21.359
<v Speaker 2>was Puerto Rican. And then they also had a couple

0:41:21.360 --> 0:41:24.160
<v Speaker 2>of guys that we're going to talk about named Stregio

0:41:24.200 --> 0:41:27.320
<v Speaker 2>Aragones and Antonio Prohyas.

0:41:27.400 --> 0:41:30.399
<v Speaker 1>Very nice. Oh, we're going to talk about it now.

0:41:30.840 --> 0:41:33.840
<v Speaker 1>So pro Hyas was the creator of Spy versus Spy, right.

0:41:34.360 --> 0:41:36.640
<v Speaker 2>Yes, And one of the reasons Cuban, Yeah.

0:41:36.440 --> 0:41:38.760
<v Speaker 1>One of the reasons why he was so interested in

0:41:38.800 --> 0:41:41.560
<v Speaker 1>the Cold War and all of the horribleness of it

0:41:41.920 --> 0:41:44.800
<v Speaker 1>and futility of it. That was basically the ultimate message

0:41:44.800 --> 0:41:48.920
<v Speaker 1>of Spy Versus Spy is you know, like, yeah, you

0:41:48.960 --> 0:41:52.520
<v Speaker 1>can nuq one another, but we all lose was just

0:41:52.560 --> 0:41:56.240
<v Speaker 1>like that's the general theme. But because he was Cuban

0:41:56.280 --> 0:41:59.240
<v Speaker 1>and because he had been expelled from Cuba by Castro,

0:41:59.760 --> 0:42:03.000
<v Speaker 1>which like, man, if you were in the sixties, that's

0:42:03.040 --> 0:42:04.960
<v Speaker 1>like one of the most political things you can do,

0:42:05.040 --> 0:42:06.760
<v Speaker 1>be expelled from Cuba by Castro.

0:42:07.360 --> 0:42:09.480
<v Speaker 2>Yeah, go to America and be famous and make lots

0:42:09.480 --> 0:42:10.080
<v Speaker 2>of exactly.

0:42:10.080 --> 0:42:13.440
<v Speaker 1>But he was famous already in Cuba when he showed

0:42:13.520 --> 0:42:16.160
<v Speaker 1>up at the offices of MAD and apparently did not

0:42:16.280 --> 0:42:18.440
<v Speaker 1>speak a lick of English, but his fourteen year old

0:42:18.520 --> 0:42:21.520
<v Speaker 1>daughter did, so he brought her with him and she

0:42:21.840 --> 0:42:25.520
<v Speaker 1>helped translate the interview and basically got across that her

0:42:25.520 --> 0:42:29.200
<v Speaker 1>father was interested in working for MAD and Bill Gaines said,

0:42:29.239 --> 0:42:33.240
<v Speaker 1>you're hired, or he probably said tell him he's hired.

0:42:34.040 --> 0:42:38.440
<v Speaker 2>Yeah, exactly. He passed away in nineteen ninety eight. Sergio

0:42:39.200 --> 0:42:41.600
<v Speaker 2>Aragonis is still with us at eighty five years old.

0:42:42.520 --> 0:42:48.120
<v Speaker 2>He is Mexican and was a very successful cartoonist in Mexico.

0:42:49.160 --> 0:42:52.880
<v Speaker 2>Showed up in nineteen sixty two asked for prehia, saying

0:42:53.320 --> 0:42:55.200
<v Speaker 2>you know, I know, you've got a guy here that

0:42:55.239 --> 0:42:59.040
<v Speaker 2>could probably help interpret. Apparently that didn't work out, so

0:42:59.120 --> 0:43:01.680
<v Speaker 2>He just said, all right, well, here's my cartoons, these

0:43:01.680 --> 0:43:04.080
<v Speaker 2>one panels, and Mad was like, we don't really do

0:43:04.120 --> 0:43:06.480
<v Speaker 2>these one panels. But then someone said, you know, I

0:43:06.520 --> 0:43:10.680
<v Speaker 2>really like these. Maybe we can do Like our magazine

0:43:10.760 --> 0:43:13.120
<v Speaker 2>is so chock full of stuff, maybe we can squeeze

0:43:13.160 --> 0:43:16.640
<v Speaker 2>in even more by doing what's called marginals, which is

0:43:16.760 --> 0:43:19.600
<v Speaker 2>in the margins of the magazine. They would sneak in

0:43:19.640 --> 0:43:21.400
<v Speaker 2>these little one panel cartoons.

0:43:21.480 --> 0:43:25.600
<v Speaker 1>Yeah, like just very they just made Mad that one

0:43:25.640 --> 0:43:27.799
<v Speaker 1>more thing. It was just one more thing that was like, oh,

0:43:27.840 --> 0:43:29.440
<v Speaker 1>this is Mad magazine, you know.

0:43:30.160 --> 0:43:30.359
<v Speaker 2>Yeah.

0:43:30.440 --> 0:43:33.040
<v Speaker 1>Yeah. I wonder if he also was responsible, you know,

0:43:33.080 --> 0:43:36.680
<v Speaker 1>like the interstitial little cartoons of you know, like the

0:43:36.719 --> 0:43:40.120
<v Speaker 1>guy sweeping up the logo of bloopers and practical jokes

0:43:40.120 --> 0:43:44.839
<v Speaker 1>with Dick Clark and Ed McMahon. They were very much

0:43:45.000 --> 0:43:46.799
<v Speaker 1>like that, And I'm wondering if they hired him to

0:43:46.840 --> 0:43:49.799
<v Speaker 1>do that too. I hope they did, because if not,

0:43:49.840 --> 0:43:50.880
<v Speaker 1>they kind of ripped them.

0:43:50.719 --> 0:43:55.480
<v Speaker 2>All, you know what. I seem to remember knowing that

0:43:55.560 --> 0:43:58.160
<v Speaker 2>to be true. But I'm not gonna say absolutely, but

0:43:58.200 --> 0:43:59.279
<v Speaker 2>that does really ring a bell.

0:43:59.400 --> 0:44:01.200
<v Speaker 1>Okay, good good, I'm glad, So.

0:44:01.160 --> 0:44:02.280
<v Speaker 2>We're gonna say definitely.

0:44:02.280 --> 0:44:05.200
<v Speaker 1>Maybe there's another guy too that was worth mentioning. His

0:44:05.280 --> 0:44:08.359
<v Speaker 1>name was Dave Berg. He did the lighter side of

0:44:09.239 --> 0:44:13.239
<v Speaker 1>Oh yeah, pretty funny, like multiple panels of you know,

0:44:14.480 --> 0:44:17.080
<v Speaker 1>I guess, pretty funny stuff. The one that I always remember.

0:44:17.120 --> 0:44:20.480
<v Speaker 1>His drawing was amazing too, not quite as it was

0:44:20.560 --> 0:44:24.960
<v Speaker 1>much more linear and angular than more drunker stuff, but still,

0:44:25.080 --> 0:44:29.360
<v Speaker 1>you know, visually interesting. There was a guy shaving in

0:44:29.640 --> 0:44:32.920
<v Speaker 1>his beard and he was halfway done when his like

0:44:32.960 --> 0:44:35.640
<v Speaker 1>wife or girlfriend calls from the other room, like, I

0:44:35.760 --> 0:44:38.840
<v Speaker 1>changed my mind, keep your beard, and he's like making

0:44:38.840 --> 0:44:41.279
<v Speaker 1>this face in the mirror. For some reason, ten year

0:44:41.280 --> 0:44:44.200
<v Speaker 1>old Josh thought that was remarkable and remembered it. I

0:44:44.200 --> 0:44:46.760
<v Speaker 1>don't even think I laughed at it, but for some reason,

0:44:46.800 --> 0:44:47.600
<v Speaker 1>it just stuck with me.

0:44:47.760 --> 0:44:49.799
<v Speaker 2>Right, It's funny how that stuff happens.

0:44:49.560 --> 0:44:53.960
<v Speaker 1>Yeah, for sure. But he apparently was the one conservative, religious,

0:44:54.440 --> 0:45:00.480
<v Speaker 1>white suburban dude gentile. Most of the other well, I

0:45:00.480 --> 0:45:02.200
<v Speaker 1>shouldn't say most, but a lot of the others in

0:45:02.239 --> 0:45:07.439
<v Speaker 1>the whole conceit of mad especially earlier, was like Jewish. Yeah,

0:45:07.520 --> 0:45:12.440
<v Speaker 1>so Dave Berg was just very much intension, I guess

0:45:13.440 --> 0:45:16.480
<v Speaker 1>with the rest of the staff. Yeah, and al Jeffie

0:45:16.560 --> 0:45:19.719
<v Speaker 1>said that he kind of acted like he felt like

0:45:19.800 --> 0:45:23.120
<v Speaker 1>he was keeping carrying the whole thing on his back.

0:45:23.719 --> 0:45:26.360
<v Speaker 2>And the magazine or just the conservative man.

0:45:26.400 --> 0:45:29.160
<v Speaker 1>The magazine, like it was all him or something like that.

0:45:29.239 --> 0:45:31.520
<v Speaker 1>So he seems like a pretty interesting dude. But if

0:45:31.560 --> 0:45:34.799
<v Speaker 1>you remember that that comic The Lighter Side of There

0:45:34.840 --> 0:45:38.480
<v Speaker 1>was very frequently a late middle aged gentleman with like

0:45:38.520 --> 0:45:41.560
<v Speaker 1>a pipe and a leisure suit. Yeah, he's always being

0:45:41.560 --> 0:45:44.000
<v Speaker 1>put upon by hippies. I'm under the impression that that

0:45:44.160 --> 0:45:45.360
<v Speaker 1>was him doing himself.

0:45:46.840 --> 0:45:51.640
<v Speaker 2>I'm trying to remember. I'm trying to remember what that

0:45:51.680 --> 0:45:52.360
<v Speaker 2>character looked like.

0:45:52.760 --> 0:45:58.000
<v Speaker 1>He had glasses, whitish, shortish hair, and it was everything

0:45:58.080 --> 0:46:00.120
<v Speaker 1>was almost always done from the bust.

0:46:00.080 --> 0:46:04.000
<v Speaker 2>Up with the pipe. Yes, okay, I'm looking at him now.

0:46:04.280 --> 0:46:06.960
<v Speaker 1>I think things like Hank Hill. Yeah a little bit,

0:46:07.040 --> 0:46:08.600
<v Speaker 1>now that you mention it, for sure.

0:46:08.880 --> 0:46:10.560
<v Speaker 2>I bet that totally is him.

0:46:10.920 --> 0:46:12.919
<v Speaker 1>So that's Dave Burg, and I think he was worth

0:46:12.920 --> 0:46:13.760
<v Speaker 1>calling out for sure.

0:46:14.440 --> 0:46:17.359
<v Speaker 2>Yeah, you know, we did mention mort Drunker, but I

0:46:17.400 --> 0:46:20.360
<v Speaker 2>wanted to recognize that he passed away in twenty twenty,

0:46:21.160 --> 0:46:23.319
<v Speaker 2>and I think he was in his nineties, So like

0:46:23.840 --> 0:46:26.400
<v Speaker 2>these guys are living in their mid eighties to nineties

0:46:26.400 --> 0:46:29.239
<v Speaker 2>and into the hundreds, not all of them, but like

0:46:29.880 --> 0:46:34.080
<v Speaker 2>maybe there's something to humor and laughter, right being medicine.

0:46:34.080 --> 0:46:37.319
<v Speaker 2>Who knows, But we did mention Don Martin briefly. I

0:46:37.440 --> 0:46:39.560
<v Speaker 2>wanted to talk a little bit more about him because

0:46:40.160 --> 0:46:43.000
<v Speaker 2>he was there from nineteen fifty six to nineteen eighty eight.

0:46:43.640 --> 0:46:47.319
<v Speaker 2>Was known as Mad's maddest artist. He did. He had

0:46:47.360 --> 0:46:50.160
<v Speaker 2>a very distinct style that, like you said earlier, was

0:46:50.400 --> 0:46:53.040
<v Speaker 2>nothing like the sort of caricature realism of a mort

0:46:53.080 --> 0:46:57.120
<v Speaker 2>Drugger or Taurus, but very distinct style. Did a lot

0:46:57.120 --> 0:47:02.240
<v Speaker 2>of poem parodies, did these singld character like single page

0:47:02.320 --> 0:47:05.280
<v Speaker 2>character parodies, like it would just be a big picture

0:47:05.360 --> 0:47:09.160
<v Speaker 2>of like Moses and then just a bunch of little

0:47:09.200 --> 0:47:13.200
<v Speaker 2>like things about Moses, like a comment on the sandals

0:47:13.320 --> 0:47:15.920
<v Speaker 2>or you know how he did his nails, and you know,

0:47:15.960 --> 0:47:18.880
<v Speaker 2>a line pointing to this part on Moses's body. So

0:47:18.960 --> 0:47:22.000
<v Speaker 2>a lot of those, but mostly did he had these

0:47:22.040 --> 0:47:24.719
<v Speaker 2>comic strips. They were he did two to three per

0:47:24.760 --> 0:47:29.000
<v Speaker 2>issue and they were maybe a couple of pages usually,

0:47:29.400 --> 0:47:31.240
<v Speaker 2>but it was just sort of a good old fashioned

0:47:31.320 --> 0:47:34.839
<v Speaker 2>comic strip, and that was sort of Don Martin's jam.

0:47:34.920 --> 0:47:37.879
<v Speaker 1>Yeah, and everybody had a very long face and very

0:47:38.440 --> 0:47:42.239
<v Speaker 1>long feet. Yeah, it was just yeah, his stuff is unmistakeable.

0:47:42.320 --> 0:47:44.640
<v Speaker 1>You could spot it anywhere even with your eyes closed.

0:47:45.880 --> 0:47:47.960
<v Speaker 1>So the thing is, like you said, these people were

0:47:48.000 --> 0:47:52.640
<v Speaker 1>living into their eighties, nineties, hundreds even, and a lot

0:47:52.640 --> 0:47:55.640
<v Speaker 1>of them were working like up until very shortly before

0:47:55.680 --> 0:47:58.520
<v Speaker 1>their deaths. So these people worked at this magazine putting

0:47:58.560 --> 0:48:04.640
<v Speaker 1>this magazine out for decades upon decades, and as a result,

0:48:05.440 --> 0:48:08.000
<v Speaker 1>Mad had the same voice like all throughout. It was

0:48:08.120 --> 0:48:10.799
<v Speaker 1>just the thing that changed was the stuff that was parodying,

0:48:11.200 --> 0:48:15.040
<v Speaker 1>you know. So I just think that's really cool. It

0:48:15.080 --> 0:48:19.319
<v Speaker 1>also explains why in the Simpsons that when bart and

0:48:19.400 --> 0:48:23.360
<v Speaker 1>Milhouse are reading Mad magazine that they're talking about Spiro

0:48:23.480 --> 0:48:27.680
<v Speaker 1>Agnew and Barton Milhouse go, they're talking about that Spiro

0:48:27.800 --> 0:48:31.120
<v Speaker 1>Agnew guy again. He must work there, And I remember

0:48:31.239 --> 0:48:35.000
<v Speaker 1>thinking the exact same thing, because these guys are by

0:48:35.000 --> 0:48:38.920
<v Speaker 1>the way, Spiro Agnew was vice president to Nixon, right.

0:48:39.120 --> 0:48:41.480
<v Speaker 2>Just a I remember that's how that name exactly.

0:48:41.600 --> 0:48:43.960
<v Speaker 1>Yes, for sure, me too. I knew that name for

0:48:44.920 --> 0:48:49.319
<v Speaker 1>a good six seven years before I knew who he was,

0:48:50.000 --> 0:48:52.960
<v Speaker 1>and that that was like this kind of unspoken, unwritten

0:48:53.040 --> 0:48:55.720
<v Speaker 1>tradition for kids that started reading it in like probably

0:48:55.719 --> 0:48:59.280
<v Speaker 1>the early eighties onward, because these dudes were still talking

0:48:59.320 --> 0:49:01.960
<v Speaker 1>about spear Wagnu in like nineteen eighty six.

0:49:03.080 --> 0:49:05.600
<v Speaker 2>Yeah, there's no reason that a twelve year old in

0:49:05.640 --> 0:49:07.759
<v Speaker 2>the mid eighties should know anything about spiritual now.

0:49:07.960 --> 0:49:11.120
<v Speaker 1>But I just thought that Simpson's joke was just dead on.

0:49:11.960 --> 0:49:14.600
<v Speaker 2>That's pretty good. I don't remember that joke, but that's awesome.

0:49:15.280 --> 0:49:17.520
<v Speaker 2>So another thing we need to talk about is a

0:49:17.640 --> 0:49:21.759
<v Speaker 2>very big lawsuit. They were no stranger to lawsuits. They

0:49:21.800 --> 0:49:24.200
<v Speaker 2>were no stranger to the FBI kind of sniffing around

0:49:24.239 --> 0:49:29.719
<v Speaker 2>every now and then because they were subversive and counterculture,

0:49:29.760 --> 0:49:31.760
<v Speaker 2>and so the FBI of course would always be interested

0:49:31.800 --> 0:49:36.440
<v Speaker 2>in that. But a big lawsuit happened in nineteen sixty

0:49:36.440 --> 0:49:40.280
<v Speaker 2>one when Mad released a special called sing Along with Mad,

0:49:40.600 --> 0:49:44.520
<v Speaker 2>which had twenty song parodies popular music, and the first

0:49:44.560 --> 0:49:49.800
<v Speaker 2>exhibit in the trial was a musical salute to a hypochondriac,

0:49:51.000 --> 0:49:53.279
<v Speaker 2>sung to the tune of Irving Berlin's A Pretty Girl

0:49:53.400 --> 0:49:58.200
<v Speaker 2>Is Like a melody called Luella Schwartz describes her malady.

0:49:58.320 --> 0:50:01.239
<v Speaker 2>So the estate of Berlin was not happy about this,

0:50:02.320 --> 0:50:05.440
<v Speaker 2>sued and the judge, and this ended up being a

0:50:05.480 --> 0:50:07.319
<v Speaker 2>landmark decision because it went all the way to the

0:50:07.320 --> 0:50:12.120
<v Speaker 2>Supreme Court, like any any satire and that we you know,

0:50:12.280 --> 0:50:14.359
<v Speaker 2>enjoyed today, we can kind of trace back to this

0:50:14.560 --> 0:50:17.880
<v Speaker 2>lawsuit where a judge said, as a general proposition, we

0:50:17.960 --> 0:50:21.760
<v Speaker 2>believe that parody and satire are deserving of substantial freedom

0:50:22.080 --> 0:50:24.440
<v Speaker 2>both his entertainment as a form of social and this

0:50:24.560 --> 0:50:26.600
<v Speaker 2>is a key part, and as a form of social

0:50:26.640 --> 0:50:28.280
<v Speaker 2>and literary criticism.

0:50:28.360 --> 0:50:32.160
<v Speaker 1>Yeah, Mad magazine did that boom, So yeah, the Estate

0:50:32.160 --> 0:50:34.200
<v Speaker 1>of Irving Berlin didn't know who they were taking on,

0:50:35.600 --> 0:50:36.120
<v Speaker 1>but that's.

0:50:35.920 --> 0:50:38.959
<v Speaker 2>Pretty cool and they're taking on freedom.

0:50:39.080 --> 0:50:42.719
<v Speaker 1>Right, Dave. Dave traces that straight to weird Al Yankovic,

0:50:43.120 --> 0:50:46.880
<v Speaker 1>which I mean, that's a pretty obvious example. Like his

0:50:47.120 --> 0:50:50.239
<v Speaker 1>parody music, you can like he can just do that

0:50:50.360 --> 0:50:55.719
<v Speaker 1>apparently he asks typically, but weird Al to bring it

0:50:55.760 --> 0:50:58.720
<v Speaker 1>full circle is a huge Mad fan. Not that surprised.

0:50:58.760 --> 0:51:02.560
<v Speaker 1>Sure who made it onto the cover in twenty fifteen,

0:51:03.239 --> 0:51:06.520
<v Speaker 1>and it was one of those rare covers where alfredy

0:51:06.600 --> 0:51:11.239
<v Speaker 1>Newman's expression is different. He actually looks concerned and weirded out,

0:51:11.400 --> 0:51:14.120
<v Speaker 1>being close to weird out and weird it all has

0:51:14.160 --> 0:51:16.160
<v Speaker 1>the alfredy Newman expression on his face.

0:51:16.400 --> 0:51:18.359
<v Speaker 2>Oh, very interesting, man.

0:51:18.440 --> 0:51:20.879
<v Speaker 1>We just wrapped up like eight different parts of this

0:51:21.040 --> 0:51:22.520
<v Speaker 1>episode into the one cover.

0:51:23.239 --> 0:51:27.280
<v Speaker 2>I have to look that up. Mad magazine was very popular.

0:51:27.880 --> 0:51:30.680
<v Speaker 2>It reached its peak in the sort of the late

0:51:30.719 --> 0:51:35.640
<v Speaker 2>sixties and seventies at a circulation rate that topped out

0:51:35.680 --> 0:51:39.399
<v Speaker 2>at a little more than two point one million magazines,

0:51:39.640 --> 0:51:44.960
<v Speaker 2>which is a lot. It was like just behind Time

0:51:45.200 --> 0:51:50.040
<v Speaker 2>and Newsweek and circulation numbers. I never really kind of

0:51:50.080 --> 0:51:54.000
<v Speaker 2>knew how many people read magazines back huge. Yeah, I

0:51:54.000 --> 0:51:57.120
<v Speaker 2>mean two point one in circulation is there's a lot

0:51:57.120 --> 0:51:57.840
<v Speaker 2>of folks reading that.

0:51:57.960 --> 0:52:01.840
<v Speaker 1>Yeah. I think people really kept eating like news Newsweek

0:52:01.880 --> 0:52:04.480
<v Speaker 1>in Time and US News and will report until the

0:52:04.560 --> 0:52:08.000
<v Speaker 1>early early two thousands, like magazines worth thing until then

0:52:08.040 --> 0:52:09.279
<v Speaker 1>in the internet said I got this.

0:52:10.560 --> 0:52:12.600
<v Speaker 2>Yeah, And that's sort of you know, the story of

0:52:12.680 --> 0:52:16.279
<v Speaker 2>MAD to a large degree. Even though their readership did

0:52:16.360 --> 0:52:19.120
<v Speaker 2>slip after the nineteen seventies, I think it was probably

0:52:19.200 --> 0:52:22.200
<v Speaker 2>doing all right in the eighties. And Dave makes a

0:52:22.239 --> 0:52:25.360
<v Speaker 2>great point that like everyone probably says, you know, my

0:52:26.040 --> 0:52:29.560
<v Speaker 2>five or six years with Mad were the best, because

0:52:29.640 --> 0:52:31.560
<v Speaker 2>those are the ones that you knew and loved so much.

0:52:32.440 --> 0:52:34.879
<v Speaker 2>But I think we all know that the eighties Mad

0:52:34.920 --> 0:52:38.560
<v Speaker 2>magazines were the best ar away and you know, they

0:52:38.600 --> 0:52:42.239
<v Speaker 2>screwed everyone. They didn't pick sides obviously they were you know,

0:52:42.400 --> 0:52:44.680
<v Speaker 2>lefties in general, but they would they would make fun

0:52:44.760 --> 0:52:48.480
<v Speaker 2>of all politics. But you know, as with all magazines,

0:52:48.520 --> 0:52:52.839
<v Speaker 2>it would eventually dwindle. They tried to save it at

0:52:52.920 --> 0:52:57.719
<v Speaker 2>various points. I remember when they moved to LA in

0:52:57.840 --> 0:53:01.680
<v Speaker 2>the late twenty teen, I knew a few people, like

0:53:02.040 --> 0:53:05.200
<v Speaker 2>they basically hired a new staff of like kind of

0:53:05.320 --> 0:53:08.600
<v Speaker 2>cool young comedy people, and I knew a few of

0:53:08.719 --> 0:53:11.759
<v Speaker 2>them that ended up working for the newer iteration of Mad.

0:53:12.520 --> 0:53:14.719
<v Speaker 2>But sadly that wouldn't last too long either, Right.

0:53:16.080 --> 0:53:18.880
<v Speaker 1>Yeah, who anybody you want a name check? I'm curious.

0:53:20.520 --> 0:53:22.640
<v Speaker 2>I'm trying to think. Oh, Brian Possain worked for him,

0:53:22.640 --> 0:53:27.839
<v Speaker 2>I think, and then well that's true, saying's like, all right,

0:53:27.920 --> 0:53:32.560
<v Speaker 2>you're a little older. Ali Gertz she did I'm not

0:53:32.600 --> 0:53:34.640
<v Speaker 2>sure if she still does it, but did a Simpsons

0:53:34.840 --> 0:53:39.400
<v Speaker 2>podcast for Max Fun and as a singer sort of

0:53:39.440 --> 0:53:42.560
<v Speaker 2>song parody person herself, and met her to Max Fun.

0:53:42.680 --> 0:53:46.120
<v Speaker 2>She co hosted a trivia with me. Ali's great. She

0:53:46.239 --> 0:53:47.960
<v Speaker 2>was one of the editors. And then there was someone

0:53:48.000 --> 0:53:49.759
<v Speaker 2>else too. I knew, and I was just they were

0:53:49.800 --> 0:53:52.279
<v Speaker 2>all very excited, you know at the time obviously to

0:53:52.400 --> 0:53:56.520
<v Speaker 2>sort of take on this huge mantle like comedy brand.

0:53:57.760 --> 0:54:01.799
<v Speaker 2>But you know, with these huge corporate mergers a time

0:54:01.880 --> 0:54:05.920
<v Speaker 2>Warner I believe own them in the two thousands, they

0:54:06.040 --> 0:54:08.160
<v Speaker 2>merged with AT and T and that was sort of

0:54:08.239 --> 0:54:08.759
<v Speaker 2>the death knell.

0:54:09.000 --> 0:54:13.440
<v Speaker 1>Yeah, and so finally in twenty nineteen, Mad magazines stopped

0:54:13.480 --> 0:54:17.360
<v Speaker 1>publishing original content. They still put out issues once in

0:54:17.400 --> 0:54:19.840
<v Speaker 1>a while, and if you look at the cover of

0:54:19.920 --> 0:54:21.600
<v Speaker 1>the issue, you're like, oh, this is new, Like they're

0:54:21.640 --> 0:54:25.759
<v Speaker 1>parodying everything everywhere all at once. But or say, like,

0:54:26.480 --> 0:54:30.040
<v Speaker 1>what was another one? Oh, I can't remember right now,

0:54:30.120 --> 0:54:34.760
<v Speaker 1>but current scept Westworld, right, but that West World issue

0:54:35.200 --> 0:54:37.600
<v Speaker 1>was all about tech. So they would go back and

0:54:38.040 --> 0:54:40.600
<v Speaker 1>look through all the archives and find some good stuff

0:54:40.640 --> 0:54:43.720
<v Speaker 1>about tech, put it all together in a compilation issue,

0:54:43.960 --> 0:54:46.319
<v Speaker 1>then slap like a current thing on the cover. That's

0:54:46.360 --> 0:54:49.360
<v Speaker 1>what they're doing today. So there's still that's got to

0:54:49.400 --> 0:54:51.760
<v Speaker 1>be a pretty fun job going through the Mad archives

0:54:51.800 --> 0:54:55.440
<v Speaker 1>to pull together new issues compilation issues.

0:54:55.960 --> 0:54:57.399
<v Speaker 2>I know a couple of guys who might be pretty

0:54:57.400 --> 0:54:58.160
<v Speaker 2>good at Yeah.

0:54:58.040 --> 0:55:00.560
<v Speaker 1>But that's the state of Mad today. Hey, for sure,

0:55:01.560 --> 0:55:04.600
<v Speaker 1>and I wanted like seeing what happened to Mad or

0:55:04.640 --> 0:55:07.640
<v Speaker 1>where it is today really kind of drives home what

0:55:07.880 --> 0:55:12.759
<v Speaker 1>our colleague Jack O'Brien did for Cracked. Cracked had gone

0:55:12.760 --> 0:55:16.640
<v Speaker 1>the way of Mad easily in the nineties, like long before.

0:55:17.040 --> 0:55:19.600
<v Speaker 1>While Mad was still doing pretty good, Cracked had just

0:55:19.719 --> 0:55:22.560
<v Speaker 1>kind of limped off and was just a brand somebody

0:55:22.680 --> 0:55:26.520
<v Speaker 1>owned somewhere. And apparently Jack went to the owner, found

0:55:26.560 --> 0:55:29.640
<v Speaker 1>out who owned it, and went and said, hey, can

0:55:29.719 --> 0:55:34.840
<v Speaker 1>I try to revitalize Cracked on the internet, and whoever

0:55:34.920 --> 0:55:38.000
<v Speaker 1>owned it said do your best, and he did, Like

0:55:38.120 --> 0:55:41.360
<v Speaker 1>Cracked the website like just kind of blew up and

0:55:41.480 --> 0:55:44.280
<v Speaker 1>introduced the whole new generation of people that Cracked.

0:55:45.200 --> 0:55:48.080
<v Speaker 2>Yeah, it was great. Hello, Jack listened to the daily

0:55:48.160 --> 0:55:50.440
<v Speaker 2>es Eyite guys, he's in Miles, been doing that show

0:55:50.480 --> 0:55:50.799
<v Speaker 2>for a while.

0:55:50.920 --> 0:55:53.480
<v Speaker 1>Yeah, they've been at it daily for a long time.

0:55:53.600 --> 0:55:55.239
<v Speaker 2>You've been a guest more than once, and I've never

0:55:55.280 --> 0:55:56.000
<v Speaker 2>been two times.

0:55:57.120 --> 0:55:58.799
<v Speaker 1>I'm remember of the two timer club.

0:55:59.480 --> 0:56:03.799
<v Speaker 2>That's right, I'm a no timer. Mad TV is something

0:56:03.840 --> 0:56:07.800
<v Speaker 2>we should mention that ran for fifteen seasons, believe it

0:56:07.880 --> 0:56:12.279
<v Speaker 2>or not. And I watched at first from ninety five

0:56:12.320 --> 0:56:14.800
<v Speaker 2>to two thousand and nine, and they had little nods.

0:56:14.960 --> 0:56:18.880
<v Speaker 2>Alfredy Newman was there early on for a few seasons

0:56:19.680 --> 0:56:22.239
<v Speaker 2>Spy versus Spy. They would do these little animated spy

0:56:22.360 --> 0:56:25.560
<v Speaker 2>versus Spy shorts. But it was it was a good

0:56:25.560 --> 0:56:27.600
<v Speaker 2>show man and they and if you look at their

0:56:27.680 --> 0:56:30.480
<v Speaker 2>roster of people like well, a lot of them went

0:56:30.520 --> 0:56:34.080
<v Speaker 2>on to be big, big names in comedy Ike Barnholds,

0:56:34.120 --> 0:56:37.440
<v Speaker 2>Deborah Wilson, Nicole Sullivan, of course, the great Alex Borstein,

0:56:38.360 --> 0:56:41.960
<v Speaker 2>Orlando Jones, Will Sasso. It's where Key and Peel met there. Yeah,

0:56:42.960 --> 0:56:47.000
<v Speaker 2>Andy Daly, Terran kill him, just like a sort of

0:56:47.040 --> 0:56:48.479
<v Speaker 2>a who's who of comedy people.

0:56:48.600 --> 0:56:49.239
<v Speaker 1>Okay, great?

0:56:49.719 --> 0:56:51.400
<v Speaker 2>Yeah, So did you never watch that?

0:56:51.520 --> 0:56:52.480
<v Speaker 1>Really? I mean here or there?

0:56:52.600 --> 0:56:53.160
<v Speaker 2>Oh it was good.

0:56:53.239 --> 0:56:55.239
<v Speaker 1>It was not in my wheelhouse at the time. I

0:56:55.320 --> 0:56:56.960
<v Speaker 1>don't know what I was into, but it wasn't that.

0:56:59.040 --> 0:57:01.320
<v Speaker 1>It might have been like when I would have watched

0:57:01.320 --> 0:57:03.200
<v Speaker 1>it would have been during a time when Saray Night

0:57:03.239 --> 0:57:05.200
<v Speaker 1>Live was actually good, So I might have been watching that.

0:57:05.760 --> 0:57:09.719
<v Speaker 1>Or I'll bet I was watching Mystery Science Theater three

0:57:09.800 --> 0:57:11.960
<v Speaker 1>thousand instead. I'll bet that's what I was watching.

0:57:12.920 --> 0:57:14.480
<v Speaker 2>Were you only allowed one comedy show?

0:57:15.080 --> 0:57:17.480
<v Speaker 1>Okay? I had a lot of self discipline back then,

0:57:17.520 --> 0:57:20.439
<v Speaker 1>and I was only I only allowed myself one comedy show.

0:57:21.200 --> 0:57:22.080
<v Speaker 2>No, that's good stuff.

0:57:22.320 --> 0:57:24.280
<v Speaker 1>So you got anything else about Mad Magazine?

0:57:25.240 --> 0:57:27.960
<v Speaker 2>No, I mean that's that's the briefest of overviews that

0:57:28.080 --> 0:57:29.360
<v Speaker 2>this is one that you know, we could go on

0:57:29.440 --> 0:57:32.160
<v Speaker 2>for days, but we'll keep it at an hour.

0:57:32.280 --> 0:57:34.200
<v Speaker 1>Yeah, we'll keep it in an hour, and we'll always

0:57:34.280 --> 0:57:35.960
<v Speaker 1>keep Mad Magazine in our hearts.

0:57:36.760 --> 0:57:37.120
<v Speaker 2>That's right.

0:57:37.240 --> 0:57:39.760
<v Speaker 1>Since Chuck said, that's right everybody, that means it's time

0:57:39.800 --> 0:57:40.640
<v Speaker 1>for listener mail.

0:57:42.120 --> 0:57:45.880
<v Speaker 2>I'm gonna call this a Lady Trucker or Lady Trucker,

0:57:46.000 --> 0:57:50.680
<v Speaker 2>Lady Trucker one more time. Hey, guys, love the show

0:57:50.760 --> 0:57:53.000
<v Speaker 2>and listen to it at least three or four days

0:57:53.000 --> 0:57:55.240
<v Speaker 2>a week. I was listening to the Trucking episode on

0:57:55.320 --> 0:57:57.440
<v Speaker 2>my way to work. Really loved it. I work for

0:57:57.640 --> 0:58:02.200
<v Speaker 2>a three p L third part party logistics company, and

0:58:02.960 --> 0:58:06.680
<v Speaker 2>we are basically a company that rents truckers to move

0:58:06.760 --> 0:58:11.720
<v Speaker 2>shipments for our customers, basically where the middleman. The industry

0:58:11.800 --> 0:58:14.560
<v Speaker 2>is currently only made up of thirteen point seven percent women,

0:58:15.120 --> 0:58:17.840
<v Speaker 2>And there's a really cool organization called Women in Trucking.

0:58:18.800 --> 0:58:22.120
<v Speaker 2>You can find Women in Trucking dot org. Their mission

0:58:22.200 --> 0:58:24.000
<v Speaker 2>is to help bring more women into the industry and

0:58:24.040 --> 0:58:27.320
<v Speaker 2>help them overcome any obstacles in their paths. The company

0:58:27.360 --> 0:58:31.240
<v Speaker 2>I work for is designated a women in Trucking company,

0:58:31.560 --> 0:58:34.120
<v Speaker 2>with over half of our staff, including the owner, being women.

0:58:34.840 --> 0:58:36.960
<v Speaker 2>The women are so supportive of one another and make

0:58:37.000 --> 0:58:39.120
<v Speaker 2>sure to help each other out whenever possible. It's a

0:58:39.200 --> 0:58:42.160
<v Speaker 2>really great industry to be a part of, and groups

0:58:42.280 --> 0:58:46.040
<v Speaker 2>like this help to make that possible every day. I

0:58:46.120 --> 0:58:47.720
<v Speaker 2>hope there are some young women out there who were

0:58:47.760 --> 0:58:50.360
<v Speaker 2>listening to your episode and started thinking about joining this field.

0:58:50.960 --> 0:58:53.760
<v Speaker 2>Trucking used to be just for men, but it's for

0:58:53.920 --> 0:58:56.960
<v Speaker 2>us too. Keep up the great episodes. And that is

0:58:57.120 --> 0:58:59.480
<v Speaker 2>Amanda from Pittsburgh.

0:59:00.000 --> 0:59:03.160
<v Speaker 1>Amanda, what a great email, and yeah, shining some light

0:59:03.280 --> 0:59:06.600
<v Speaker 1>and some quarters we weren't fully aware of in the

0:59:06.680 --> 0:59:09.080
<v Speaker 1>hopes of luring people to those new quarters.

0:59:10.000 --> 0:59:12.400
<v Speaker 2>Yeah. So, if that peach your interest and you're a woman,

0:59:12.480 --> 0:59:14.400
<v Speaker 2>you can check out Women and Trucking dot org or

0:59:14.480 --> 0:59:17.320
<v Speaker 2>maybe read the article how female truckers are Changing the

0:59:17.400 --> 0:59:21.120
<v Speaker 2>industry that is on Dat dabt dot com and that

0:59:21.640 --> 0:59:24.120
<v Speaker 2>might further peak your interest, because hey, you can make

0:59:24.120 --> 0:59:24.760
<v Speaker 2>a hundred grand a.

0:59:24.800 --> 0:59:28.400
<v Speaker 1>Year from my as well. Thanks again, Amanda, and thanks

0:59:28.440 --> 0:59:31.960
<v Speaker 1>to everybody who writes in on a regular basis or

0:59:32.000 --> 0:59:34.760
<v Speaker 1>even one time. We always appreciate your emails, even if

0:59:34.760 --> 0:59:36.280
<v Speaker 1>we don't get a chance to read them on the

0:59:36.320 --> 0:59:40.280
<v Speaker 1>air or respond. We here you and we appreciate you.

0:59:40.640 --> 0:59:45.160
<v Speaker 1>So never forget hashtag. Never forget that. If you want

0:59:45.200 --> 0:59:46.720
<v Speaker 1>to get in touch with this, like Amanda did and

0:59:46.880 --> 0:59:49.240
<v Speaker 1>like everybody else does, you can send us an email,

0:59:49.520 --> 0:59:52.320
<v Speaker 1>send it off to stuff podcast at iHeartRadio dot com.

0:59:56.600 --> 0:59:59.400
<v Speaker 2>Stuff you Should Know is a production of iHeartRadio. For

0:59:59.520 --> 1:00:02.560
<v Speaker 2>more podcas guests my heart Radio, visit the iHeartRadio app,

1:00:02.760 --> 1:00:05.680
<v Speaker 2>Apple Podcasts, or wherever you listen to your favorite shows.