Wisconsin Octopus Parodies, 1920-1959

Six Octopus parodies.

The Magazine

Before The Onion, the most famous humor magazine to come out of Madison was the University of Wisconsin Octopus, b. November 1919, d. 1959, after UW officials found the May issue so offensive they extinguished the title. The editors did ask for it: On one page they reproduced an official warning to quit printing smut like the previous issue; on the others they parodied Playboy. The cover of “Blayboy” — a takeoff on Playboy’s for the same month — showed the mag’s eight-handed mascot joining three startled young ladies in a bubble bath. Bye bye, Octy.

Covers of Playboy and parody

Though they shared a cover date, Playboy’s May issue came out several weeks before Octy’s “Blayboy.” Right: Official displeasure

Sixty years on, Wisconsin seems willing to forgive and remember: There are now 281 Octopus issues in the UW Digital Collection, where they can be read by just anybody. “Blayboy” is represented only by a cover and its smutty predecessor is missing entirely, but most the rest are on hand. Rather than link to individual issues, here’s the whole set.

First Octopus cover

Vol. 1, no. 1

Octy was UW’s third humor magazine, following the Sphinx (1899-1913) — also online, though I haven’t found any parody issues — and the short-lived Awk (1915-1917). It was started privately by three students who turned it over to the school after two profitable issues. The U. mostly left it alone, though a “risque cartoon” in 1928 “led for a time to a closer review of all material by the faculty majority on the Octy board of directors,” says UW’s official history. Despite vowing in its first editorial to make “no attempt to issue numbers regularly,” Octy appeared eight to ten times a year for 23 years before pausing for World War II. Its return in 1946 was misnumbered Vol. 25, an error never corrected.

1939's one-page Life spoof

Spoofing Life, 1939

Octy flourished in the ’20s. The history tells of “glossy, quarto-sized issues running as many as sixty-four pages, colored covers, clever cartoons and graphics by student artists, and humorous prose and poetry.” At the depth of the Depression issues shrank to sixteen pages and the price fell from a quarter to a dime, but for most of the ’30s Octy was “a handsome, professional-looking magazine, better in design that most of its peers, and nearly as attractive as Vanity Fair or [The] New Yorker, on both of whom it had a noticable crush,” according to uwalumni.com. It ranked high in college humor polls and sometimes addressed serious subjects: A 1938 story by future New York Times reporter Leonard Silk exposed the Fascist leanings of a new Wisconsin-based third party called the National Progressives, and in 1939 the mag ridiculed the DAR for not allowing Marian Anderson to sing at Independence Hall.

The first sign of postwar trouble was a nearly year-long gap after the December 1951 issue. When the mag reappeared in November 1952 it was briefly called The New Octopus, though editor Ken Eichenbaum joked(?) that it looked “so damn much like the old one that six of us have decided to hang it up and transfer to Marquette.” He didn’t even mention the long hiatus. Octy retrenched to six issues a year, briefly tried a “more mature” policy and hit the financial rocks in 1955-56. “Too many students are READING the Octy without BUYING it,” grumbled an ad in the May 1956 issue, which begged for a thousand students to pledge — “NOW!” — to subscribe next fall. They didn’t, and Octy vanished for three semesters, reappearing with three issues in spring 1958 and three more in ’58-59. The last twitch was an undated reprint collection the next year that failed to spark a fourth revival. Three decades would pass before UW produced another nationally known humor rag.

1951 DailyCardinal parody

Cover and three inside pages from Octy’s 1953 “Daily Cardinal” issue

II: The Parodies

Octy's 1920 "Vie Parisienne" cover.

May 1920

Though it modeled a cover on France’s racy La Vie Parisienne its first year, Octy produced few parodies before the 1930s and only about two dozen total. Nearly half were of the student newspaper, always impersonated under its real name: the Daily Cardinal. Most Cardinal parodies appeared as magazine pages on authentic (and cheaper) newsprint, though in 1953 a tabloid was printed separately and folded into the March number. (Such inserts tend to stray; the UWDC has the mag but no paper.) Octy’s “Cardinals” were dryer and funnier than most such efforts and not afraid to razz local heavyweights, including Wisconsin’s junior U.S. Senator from 1947 to 1957, Joe McCarthy.

Covers of Chicago Tribune and Time parodies

The Tribune was Octy’s only off-campus newspaper target, Time the only magazine hit twice.

Octy’s first big parodee was the Police Gazette, traditional reading matter of barber shops and saloons. It was a relic of grandpa’s day even in 1929, but the Bootleg Era saw the 1890s the way later generations saw the ’20s: as the last time people knew how to have fun. This foolery was followed by a jaundiced look at Hearst’s jingoistic Sunday magazine The American Weekly in 1935 and an even sharper mauling of the arch-Republican Chicago Tribune in ’38, cowritten by Leonard Silk. Octy didn’t attempt a cover-to-cover parody until 1949, when it put Republican Gov. Oscar Rennebohm, a very dark horse in the 1952 presidential stakes, inside the red borders of “Timf.” After that, parodies came out almost annually.

Pages from Octy's Life parody

Collegiate whimsey meets Korea and custom cars in Octy’s “Liff,” 1953

The 1949 Badger yearbook called “Timf” the magazine’s “best post-war issue” and claimed it outsold the Daily Cardinal. The 1950 edition called “The Old Yorker” “the editorial and financial high point of the year.” My choice for best mock Oc is 1953’s “Liff.” Too many college parodists were content to focus Life’s wide-ranging lens on their own anthills and play the findings relatively straight; Octy highjacked the format to satirize Hollywood movies, Congressional hearings, cheesecake photos and Life itsef: “We do not believe in slanting words or pictures,” the lead editorial declared. “People look too thin that way.” Even the Korean stalemate was played for laughs in the “war memoirs” of a male-turned-female photographer named after Marguerite Higgins but inspired by Christine (née George) Jorgensen, who in early 1953 was as famous as Mamie Eisenhower.

Real 1950 Flair cover

Flair, Feb. 1950

Octy’s oddest parody was “Flare,” a sendup of Flair. The brainchild of Fleur Cowles, wife of Look publisher Garnder Cowles, Flair was a lavish monthly blend of heavyweight bylines, trendy arts coverage and innovative graphic design, featuring pekaboo covers, half-size and translucent pages, bound-in booklets and accordion foldouts. It appeared for exactly one year startimg February 1950 and was four months dead when “Flare” appeared in May 1951. Two years later, a parody of campus mag The Wisconsin Idea coincided with the real thing’s last issue. Thereafter Octy picked sturdier targets: Life, Mademoiselle, Time again (with Athletic Director Ivan B. Williamson on the cover) and, fatally, Playboy.

Octopus Parodies of the Wisconsin Daily Cardinal, 1932-1958:

(Issues are listed by volume and number in the Digital Collection, so I’ve included that.)

  • The Daily Cardinal, Vol. 13, no. 6, Feb. 1932 (16 pages + 1 cover)
  • —–, Vol. 15, no. 6, Feb. 1934  (18, some with real ads)
  • —–, Vol. 18, no. 6, Feb. 1937  (13, inc. 3-page “Collegiate Digest” photo section)
  • —–, Vol. 20, no. 8, April 1939 (4)
  • —–, Vol. 22, no. 3, Nov. 1941 (4)
  • —–, Vol. 25, no.6, Feb. 1947 (4)
  • —–, Vol. 26, no. 6, Feb. 1948 (8 + 1c)
  • —–, Vol. 27, no.7, March 1949 (8 + 1c)
  • —–, Vol. 28, no. 3, Nov. 1949 (8 + 1c)
  • —–, Vol. 29, no. 5, Feb.-March 1951 (8, called “1950 [1951]” online)
  • —–, Vol. 31, no. 4, March 1953 (insert, not online)
  • —–, (“Tri-Weakly Cardinal”), Vol. 32, no. 5, March 1954 (8)
  • —–, Summer 1958 (4, tabloid)

Other Octopus Parodies, 1920-1959:

  • La Vie Parisienne (“La Vie Wisconsienne”), Vol. 1, no. 5, May 1920 (cover only)
  • Police Gazette, Vol. 11, no. 1, September 25, 1929 (16 + 1c)
  • American Weekly (“American Weakly”), Vol. 17, no. 4, Dec. 1935 (10) (called “Vol. 15 [17]” online)
  • Chicago Daily Tribune, Vol. 20. no. 4, December 1938 (4)
  • Life (article: “Life Discloses the Happy Weekend of a Wisconsin Coed”), Vol. 21, no. 3, Nov. 1939 (1)
  • Time (“Timf”), Vol. 27, no. 5, Jan. 18, 1949 (44 + 4c)
  • The New Yorker (“The Old Yorker”), Vol. 28, no. 8, April 1950 (40 + 4c)
  • Flair (“Flare”), Vol. 29, no. 7, May 1951 (36 + 4c)
  • The Wisconsin Idea (“The Wisconsin Idear”), Vol. 31, no. 4, March 1953 (10)
  • Life (“Liff”), Vol. 31, no. 5, April 1953 (40 + 4c)
  • Mademoiselle (“Madmoiselle … and the Arts”), Vol. 33, no. 2, Dec. 1954, (28 + 4c)
  • Time (“Tum”), Vol. 34, no. 4, Feb. 1956 (28 + 4c)
  • Playboy (“Blayboy”), May 1959 (not online)

Sources:

E. David Cronon and John W. Jenkins. The University of Wisconsin: A History: Volume III: Politics, Depression, and War, 1925-1945 (U. of Wisconsin Press, 1994), pp 626-629.

Matt Rogge. “Through the Eyes of the Octopus,” uwalumni.com, posted July 12, 2017.

— VCR

Posted in College Parodies, College: 1911-1945, College: 1946 on, Uncategorized | Tagged , , , , , , , , , , | Leave a comment

Parodies of Mad, 1954-2019

Covers of 8 Mad parodies

Top: Crazy (1959), National Lampoon (1971), Bijou Funnies (1973), Hans Gamber (1986); bottom: West Point Pointer (1983), Simpsons Comics (2013), Syracuse Syracusan (1957), Esquire (1964)

Some folks can’t handle success. Last year, Mad (b. 1952) passed Judge (1881-1947) to become the longest-lived U.S. humor magazine, newsstand division. This summer, it announced its October 2019 issue — number 9 of the current series — would be the last to run all-new material. Number 10 has since emerged looking just as new, so the obits need updating, but number 9 is still a keeper for its clever recreation of Mad’s mid-’60s heyday.

Cover and 2 pages of Mad Tarantino issue

Tom Richmond channels Jack Davis (left) and Mort Drucker (right) in Mad # 9 (Oct. 2019).

TV Guide and Mad parodies from the film

Leo-as-Rick by Tom-as-Jack; cover of the DVD bonus.

The “Special Taratino Time Warp Issue” — actually, the first twelve pages plus covers — began as a prop in Quentin T.’s latest film, Once Upon a Time … in Hollywood!, set in 1969. Leonardo DiCaprio plays Rick Dalton, a fading TV star whose one hit was an early-’60’s oater called Bounty Law. Tarantino commissioned Mad’s Tom Richmond to forge Jack Davis-style covers of Leo-as-Rick for Mad and TV Guide. The job grew to include a five-page Bounty Law spoof, “Lousy Law,” written by Andrew Secundo and drawn by Richmond in a fine pastiche of Mort Drucker’s early duoshade work. (They also did a second, digest-size parody for the film’s high-priced deluxe home edition.) “I was totally blown away by how much screen time [the art got] and how big it was displayed,” Richmond told the Washington Post’s Michael Cavna.

“Lousy Law” is the heart of the “Time Warp,” which also recycles Harvey Kurtzman’s nymphs-and-satyrs nameplate, an early Al Jaffee Fold-In, and real and fake ads. Peter Kuper apes Antonio Prohias’s “Spy vs. Spy” look, and Jon Adams approximates Dave Berg in a “Lighter Side” that links then to now and ushers in the rest of the issue. It’s a good-looking piece of self-kidding nostalgia and a convenient excuse to run this semi-comprehensive list of parodies of Mad. (For parodies in Mad, see here.)

Cover-only parodies not discussed here.

Not present: Cover-only parodies like these from Mod (1981), NatLamp (Aug. 1971), Wax Paper (Oct. 1978), Esquire and Texas Monthly (both June 1992), Weird Fiction Review #3 (2012), and Der Spiegel (July 20, 2019) are discussed nowhere in the text.

The list doesn’t include the dozens of wannabes examined in two excellent books: John Benson’s The Sincerest Form of Parody (2012) and Craig Yoe and Ger Apeldoorn’s Behaving Madly (2017). Nor does it note every publication that morphed a cover subject into Alfred or faked a Fold-In. The following vary in length and quality, but all have some heft: Most run three-plus pages and parody several articles; the handful that don’t have a mock cover are so noted.

Panel from "The Seventh Schlemiel"

J.S. Martin in “MADvocate” (1980)

The cover, “Spy vs. Spy,” Fold-In, Don Martin and “Lighter Side” are the most copied features, by my count. Only the bravest parodists attempt Drucker-style movie satires: The most successful before “Lousy Law” are Ernie Colon’s “Citizen Gaines” in National Lampoon and Jeff S. Martin’s “Seventh Schlmiel” in the Harvard Lampoon’s “MADvocate,” which is by far the best student spoof. Also the briefest.

Parodists have viewed Mad with feeling ranging from adoration to contempt, but their laughter is mostly affectionate. I’ve sorted them into four groups based on attitude and affiliation: the Usual Gang itself,  rivals and critics, college humorists, and miscellanous fans.

Parodies of Mad, 1954-2019, . . .

. . . by Mad Itself:

  • “Julius Caesar,” Mad #17, Nov. 1954, 7 pp., no cover.
  • “How to Put Out an Imitation of Mad,” Mad #41, Sept. 1958, 2 pp., no cover.
  • “Some Mad Articles You Never Got to See,” Mad #120, July 1968, 8 pp., no cover.
  • “Madde,” bonus in Mad Super Special #19, Fall 1976, 24 pp.
  • “The Book of Mad,” Mad #243, Dec. 1983, 5 pp.
  • “Mad: Tarantino Time Warp Edition,” Mad #9 (new series), Oct. 2019, 12 pp + 4c.
  • “Mad: No. 98, Oct. ’65,” bonus in Once Upon a Time . . . In Hollywood! 4K Ultra HD Collector’s Edition, Dec. 2019, 24 pp.

Mad could kid its own formulas but had no desire to share them. In the comic, Kurtzman and Wallace Wood namecheck eleven rivals, including EC stablemate Panic, then break the fourth wall to “point out the various routines” in “a typical-type lampoon” of the 1953 film Julius Caesar. The assumption that Mad pioneered those routines hovers unspoken. By contrast, “How to . . .” openly and sourly attacks Mad-the-mag’s copycats, some of whom sassed back. It’s less a parody than a humor-mag parts catalogue, but it reveals the professional pride behind the what-me-worry facade.

Panels from Mad self-parodies,

Clockwise from left: “How to Put out an Imitation of Mad” (1958) and “Julius Caesar” (1954), George Woodbridge in “Madde”(1976), a Berg’s-Eye View “You Never Got to See” (1968)

Later self-parodies are less meta. “Some Mad Articles You Never Got to See,” by Frank Jacobs, presents a dozen that supposedly “ended up dull” or otherwise misfired. Most are bland except “The Lighter Side of Death,” a cringe-worthy takeoff of Dave Berg drawn by Berg himself. In “Madde,” the Gang travel back to the Revolutionary Era for some Bicentennial satire. Lou Silverstone does the same for Biblical times in “The Book of Mad,” cramming a Noah’s Ark cover and seven story ideas into five pages.

. . . by Rivals & Critics:

  • “How To Put Out An Imitation of ‘Angry’,” Thimk #4, Dec. 1958, 1 p., no cover.
  • “How To Put Out An Imitation of Frantic,” Frantic #2, Dec. 1958, 2 pp., no cover.
  • “Bad,” Crazy, Charlton Publications, March 1959, 6 pp.
  • “Special Sophistication Issue: Bad,” Esquire, Aug. 1964, 5 pp.
  • “Mad,” National Lampoon, Oct. 1971, 15 pp.
  • “You Know You’re Grown Up When . . .” (article), National Lampoon, Sept. 1977, 2 pp., no cover.
  • “Mud,” in Trash, Trash Publishing Inc., March 1978, 10 pp.
  • “Müd,” ed. by Hans Gamber, Maya Verlag, Munich, Germany, 1986, 36 pp.
  • “Mad” [with “a” inverted], Barf #1, Revolutionary Comics, April 1990, 2 pp + 2c.
Pages from Crazy and Trash magazines.

Mocking Mad merch in Crazy’s “Bad” (1959) and Trash’s “Mud” (1978)

“How To Put Out an Imitation of Mad” didn’t go unanswered. Loco ran “How to Be A Copy-Cat” in October 1958; the next month Frenzy reprinted bits from Judge, Ballyhoo and the old Life in “How to Take All The Credit For Originating a Humor Magazine.” Thimk and Frantic piled on in December with parodies of the original story. The biggest pushback was “Bad,” a six-page look at “the great humor magazine that invented satire” (sarc.) in This Magazine Is Crazy, by future Mad and television writer Gary Belkin and artist Tony Couch, Jr. It mocks several long-gone features including Bob and Ray’s skits and the t-shirt ad. Trash delivered the most recent assault in its March 1978 debut; “Mud” looks a bit like Mad, but so do the 42 derivative pages around it. Though uncredited, it’s likely the work of  Trash editor Tony Tallarico.

Mad spoofs from Esquire and Barf

Two pages from Esquire’s “Bad” (1964); cover and page of Barf’s “Mad” (1990)

“For some time I too have been intrigued by the idea of doing a takeoff of Mad . . . and I wondered if it could be done,” Mad’s Larry Siegel wrote Esquire after its “Bad” appeared. “Well, I just saw yours, and believe me it hasn’t been done yet.” He went on to call the parody “cruel, vicious” and “more heavy-handed than Mad at its worst,” and ended with: “The guy who did your piece should have studied his subject more. You don’t do a takeoff of Mad simply by filling your article with ‘mainly,’ ‘gang,’ and ‘ecch.'” Siegel was too kind: Mad à la Esquire is an unrecognizable stew of horror comic, gags-and-gals humor and bathroom graffiti. Illustrator Blake Hampton may have glanced at the source material but didn’t bother imitating specific artists.

By contrast, National Lampoon’s John Boni, Sean Kelly and Henry Beard approached the job with the intensity of  ex-lovers. Though uneven, their “Mad” (see also here) comes closest to meeting Siegel’s standards — unlike the two-page filler “You Know You’re a Grown-Up When . . .” six years later. Munich’s Hans Gamber translated these and other NatLamp pieces in his spoof of Mad’s German edition, “Müd” (which, with umlaut, means “Tired”). I believe it’s the only Mad parody published outside the U.S. San Diego comic Barf offered humor in a punk-grunge-anarchist vein from 1990 to slightly later in 1990 (three issues); it gave fuddy-duddy Mad the finger in a few snide pages and is mainly notable for beginning on the back cover.

. . . by College Humor Magazines:

  • “Dam,” Syracuse Syracusan, March 1957, 32 pp.
  • “????,” Michigan Gargoyle, 1957-58, ?? pp.
  • “Mud,” U. of Massachusetts Yahoo, January 1965, 32 pp. + 4 c.
  • “MADvocate,” Harvard Lampoon, April 1980, 5 pp., no cover.
  • “Grad,” West Point Pointer, May 1983, 23 (of 44) pp. + 4 c.
Pages from college Mad parodies

Pages from Syracuse (1957), cover from U. Mass (1965), back cover from West Point (1983)

Mad was required reading for college humorists in the 1950s and ’60s, but most knew they lacked the chops to make a reasonable facsimile. The Syracusan tried anyway in March 1957, when black-and-white Mad was just two years old. “Dam” contains nearly 30 pages of original illustrated stories; many are funny, but they’d never pass for the real thing. Yahoo’s “Mud” and the Pointer’s “Grad” are cruder, though “Mud” found a clever way around Mad’s plug-free purity in “If Comic Strip Characters Patronized Our Advertisers.”

Two pages of the Lampoon's Madvocate

Two-fifths of the Harvard Lampoon’s 1980 Mad-Advocate merger

The Lampoon’s mashup of Mad with the highbrow Harvard Advocate starts with a strong premise and dispatches it in five brisk pages: Contents, Movie, “Don Martin,” Fold-In. Future Simpsons showrunners Mike Reiss and Al Jean, both ’91, contributed. Gargoyle’s parody is the big unknown: The 1958 Michigan yearbook says “this year’s Garg staff . . . satirized Mad,” but the Michigan Daily’s reviews don’t mention it. Anybody got a copy?

. . . by Fans:

  • “73,” 73 magazine, Wayne Green Inc., April 1967, 3 pp. + 1 c.
  • Bijou Funnies #8, Kitchen Sink Press, 1973, 36 pp.
  • Screw #1013, Milky Way Productions, Inc., Aug. 1, 1988, ?? pp.
  • Jab #1, Cummings Design Group, Spring 1993, 24 pp. + 4 c.
  • “Bits and Pieces,” Hustler, Sept. 1995, 13 pp.
  • Chunklet #14, pub. by Henry H. Owings, 1998, 2 pp. + 2 c.
  • The Comics Journal, Fantagraphics, July 2000, 3 pp. + 2c.
  • We’re MAD … about Machine Vision, Cognex Corp., Dec. 31, 2002, 12 pp + 1c.
  • “D’oh,” in Simpsons Comics #203, Bongo Comics Group, June 3, 2013, 7 pp. + 1c.
Pages from 73 and Bijou

Cover and Spies from 73 (1967); opening page from Bijou (1973)

Sometimes, kids who fall in love with Mad grow into adults with access to printing presses; the results can turn up anywhere from porn mags to earnings reports. In 1967, Wayne Pierce drew an Alfred E. Neuman cover and “Ham vs. Ham” for the amateur radio monthly, 73. (The title is short-wave for “Best Regards.”) R. Crumb, Bill Griffith and other heavyweights mocked each other’s creations in the eighth and final issue of Bijou Funnies in the spirit of Mad comics. Editor Jay Lynch wrote an EC-style anti-censorship editorial and parodied Gilbert Shelton’s Fabulous Furry Freak Brothers. The cover was drawn by fabulous though not furry Harvey Kurtzman, who started the whole thing.

Cover of Screw (1988)

Screw (1988)

Screw’s August 1, 1988, front shows owner Al Goldstein grinning gap-toothed beneath the headline “Alfred E. Neuman’s Sex Secrets” as his old pal Bill Gaines vomits in the background. (Don’t ask how Screw treated people Goldstein didn’t like.) Inside are a long interview with Gaines and X-rated spoofs of Berg, Martin and the spies. Those features also turn up in Hustler’s 1995 salute, along with “You Know Your Girlfriend’s a Slut When…” and similar delicacies. It’s one of the longest Mad parodies at thirteen pages and captures Mad’s look and rhythm, but the humor ranges from juvenile to hateful and too many panels are “improved” by ‘shopped-in nudes.

Chunklet was a music and comedy magazine out of Athens, Georgia, known for its putdowns of “overrated” acts (basically all of them) and unhurried schedule (twenty issues in fifteen years, the last in 2008). Issue #14, undated but copyright 1998, says “completely Mad” up front but delivers only a bleakly funny “Pomo Spy vs. Pomo Spy” by Ted Rall and an advertiser’s Fold-In. There are clues that a longer parody was planned and dropped: Chunklet.com calls #14 “The Mad Magazine Issue, a.k.a. The Cease & Desist Issue.” The cover of The Comics Journal #225 was painted by Kelly Freas, Mad’s cover artist from 1958 to 1962; TCJ also imitated Mad’s contents, letters pages and Fold-In to plug interviews with Jaffee, Jack Davis and Al Feldstein.

Pages from Chunklet and Comics Journal

Chunklet’s cover and Ted Rall’s pomo Spies (1993); TCJ’s cover and Fold-In (2000)

Cognex Corp. of Massachusetts makes robotic gadgets that can see defective products on assembly lines. In 2002, founder Robert Shillman got so “MAD about the negative effect of the worldwide economic slowdown” he made it the theme of the company’s annual report. The usual one-pagers are present, all involving gags about machine-vision quality-control systems. Highlights are the uncredited Norman Mingo-style cover and the very idea of doing such a thing. Jab was a humor mag out of Birmingham, Alabama, in the early ’90s that doubled as a sampler for publisher Frank Cumming’s design firm; all four issues contain Mad-like illustrated satires, but only #1 makes the connection explicit.

Mad parodies by Jab, Cognex and Simpsons Comics

Covers from Jab (1993) and Cognex (2002); “Don Martin” by Cognex and Simpsons Comics (2013)

Simpsons Comics #203 may be most loving tribute: The lead story is about Krusty the Clown’s attempts to profit off Bart’s hand-drawn comic book “Bad” (renamed “D’oh!” because the title was too close to goth monthly “Sad”). The flip-side samples “D’oh” itself, bending the usual Simpsons line just enough to hat-tip Drucker, Martin and Aragones. Bongo Comics shut down last October after Simpsons Comics #245, and Mad is tottering, so I’ll close with the final panel of “The Rise and Fall of D’oh.” —VCR

Simpson's panel of "Doh!" mag's funeral

Posted in College Parodies, College: 1946 on, Newsstand Parodies | Tagged , , , , , , , , | 1 Comment

Online: Collier’s WW3 & Shaft’s “Collera’s,” 1951-52

Collier's cover and Shaft's parody

Collier’s cover, by Richard Deane Taylor (1951), and Shaft’s response (1952).

Parody Of: Collier’s, Oct. 27, 1951. Title:Collera’s,” for Oct. 27, 1951
In: U. of Illinois Shaft, Jan. 1952. Format: 13 b&w pages + 1 cover.

Magazine parodies rarely focus on one particular issue of their subjects, but the “preview” of World War III that filled Collier’s on October 27, 1951, made a big enough splash to earn its own spoof. Printed copies are scarce, but luckily both have been posted online in their entirety. (Links above.) Together they capture the nation’s jittery mood during the coldest years of the Cold War, between the outbreak of fighting in Korea in 1950 and the death of Stalin in 1953.

Mushrooms over Moscow in Collier’s, Oct. 27, 1951.

Collier’s’ what-if was assembled by associate editor Cornelius Ryan, future author of The Longest Day and A Bridge Too Far, after “study and consultation with top political, military and economic thinkers, including high-level Washington officials and foreign-policy experts.” Supposedly written in 1960, it begins in 1952, when a bungled Soviet attempt to assassinate Yugoslavia’s Marshall Tito sets the tanks rolling. The Good Guys eventually win, but only after millions on both sides die in A-bomb attacks. (Alt-history buffs should read Ron Miller’s detailed play-by-play at GorillaWorldPress.com.) After that bitter pill, a score of writers from Arthur Koestler to Walter Winchell share their visions of the next postwar world, where communism is defunct and Moscow hosts fashion shows.

The assumption there would be a world post-War No. 3 may strike today’s readers as the least likely part of the scenario, especially after they see Chesley Bonestell’s lurid, full-page paintings of the Kremlin, U.S. Capitol and other landmarks melting under nuclear fireballs. But the hydrogen bomb was still under wraps in 1951; A-bombs were relatively small and hard to come by, and the dangers of fallout largely unknown. Within a few years all that changed, opening the gates for apocalypses like On the Beach (1957) and Red Alert (1958), the basis for Stanley Kubrick’s Dr. Strangelove.

Excerpts from Collier's and Shaft

Collier’s (left) and “Collera’s” make their cases.

The sober realists in Collier’s roundup could still picture total war ending in victory — they’d seen it happen, nukes and all, just six years earlier — and the contributors who had dealt with Stalin’s regime weren’t shy about hailing its demise in essays titled “Freedom at Long Last” and “We Worship God Again.” Lest this seem a bit trigger-happy, the editors reminded readers this was a “PREVIEW OF THE WAR WE DO NOT WANT” across dozens of pages in prophylactic capitals. Meanwhile, all the usual features and fillers were either dropped or drafted into service, including the usually featherweight love story and cartoons. Mike Ingram of bookfightpod.com recently called the result “one part anti-communist propaganda and one part teenage war fantasy.” Some early-’50s readers felt a similar disconnect: As the parody put it, “Oh, do we hate war. Ugh! Here’s a whole issue about it.”

Shaft, Jan. 1952

That jibe appeared not in some pinko-pacifist Greenwich Village organ but in Shaft, the off-campus humor magazine at the University of Illinois in Urbana-Champaign. Set up by returning World War II vets as a for-profit business, Shaft at first pledged “to avoid the pitfalls of smutty material which have wrecked every previous attempt to publish a strictly college humor mag here,” the Daily Illini reported in 1947. In reality, it soon migrated to the gals-‘n’-gags end of the college-humor spectrum, correctly assuming its mostly male readers would overlook primitive design and sloppy paste-up if given enough raunch. Future film critic Gene Shalit and Mad writer Larry Siegel boosted the satire content in early years, while an ambitious young man named Hugh Hefner supplied cartoons.

Shaft was a headache for U. of I. officials from the start, despite never being their baby. The end came when copies of the “lewd” April 1954 issue were sold to high-schoolers in town for their statewide basketball tournament. Offended parents blamed the U., which threatened “disciplinary action” against students aiding and abetting Shaft. The mag cut local ties and moved to Chicago, where it lasted another year.

Covers of Shaft's other parodies.

Shaft also mocked the Post (1950), Esquire (1951) and fan mags (1952), the last featuring MM.

Shaft ran only four magazine parodies in its seven years in Champaign. A 14-page “Saturday Evening Pest” filled the back half of the October 1950 issue, followed by “Esqueer” in the same spot in April 1951. The next school year brought “Collera’s” and a generic movie mag called “Succulent Screen” in January and April 1952. All four reused art and headlines from their targets, which if not cheating is still the laziest way to achieve a likeness. Only “Collera’s” put much satiric spin on its model, reversing WWIII’s outcome and Collier’s’ allegiance to expose the triumphalism behind the caveats and hand-wringing.

Cartoon and Illustration from Collier's

Left: Bill Mauldin’s G.I.s Willie and Joe gave Collier’s war-gaming its most human touch. Right: Predicted Russian editions of Newsweek, Reader’s Digest, Time, Life, Collier’s and SatEvePost.

“Collera’s” main target, though, is not war as much as the kind of thinking that reduces war to a thought experiment with paper casualties. Though G.I.-Bill enrollment was falling fast by 1951-52, roughly a quarter of American college men that year were World War II veterans, and the percentage was higher at tech-focused schools like Purdue. The men who created “Collera’s” had either seen war up close or were steeling themselves to face it in Korea. College mags didn’t debate the draft and foreign policy in 1950-53 with the fervor they showed in 1940-41 before Pearl Harbor, but from Yale to UCLA, old jokes about the consequences of flunking out acquired a sour edge.

Collier's and Shaft inside art.

Armageddon and absurdity in Collier’s and “Collera’s.”

Some pages of “Collera’s” are typical collegiate wackiness (the decisive battle becomes a Russian assault on U.S. canned tuna reserves). Others view official wisdom and motives with a skepticism that seems more late-’60s that early-’50s. And when the parody translates Collier’s’ uncomfortable mix of righteousness and realpolitik into Russian-accented gangster-speak (“This is only what you might be calling a helpful hint — just in case!“), it sounds positively contemporary.   —VCR

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Bicentennial Burlesques, 1975-76 (and 2008)

Louis Glanzman’s portraits of Jefferson and Washington on Time‘s 1975-76 specials.

In addition to bringing tall ships and fireworks, the U.S. Bicentennial in 1976 provided a perfect excuse to swell the nation’s small stock of 18th-century magazines. Time‘s special issues were the most impressive, representing two years work by 26 researchers and writers. “Independence,” dated July 4, 1776, came out in May 1975 with a vulpine Thomas Jefferson on the cover; it was sent to 4.7 million subscribers and sold 1.3 million copies on the stands. “The New Nation” did nearly as well a year later. Dated Sept. 26, 1789, it led with the start of George Washington’s administration and the passage of the Bill of Rights. Names making news in other sections include Adam Smith, Voltaire and Captain Bligh of H.M.S. Bounty. Though too straight-faced and factual to qualify as self-parodies, the past Times can’t help resembling souvenirs from an elaborate masquerade party.

National Lampoon‘s Hamilton had no use for “radical nonfenfe.”

The 199th Birthday Book (1975), a National Lampoon newsstand special edited by Tony Hendra, is not as overwhelming as NL‘s high-school yearbook and Sunday newspaper parodies, but it takes the same care with details and leaves few patriotic icons ungored. Its bogus artifacts include an 1876 Electoral College humor magazine, “The Spittoon,” and three pages of Kiplinger-style investment tips from a hard-nosed Alexander Hamilton unlikely to inspire any musicals.

Mock-colonial scenes by Norman Mingo and George Woodbridge in Madde (1976),

“Madde,” a 24-page, comic-book-size “Centennial Year [sic] Collectors’ Item” in Mad Special #19 (Fall 1976) subjects the whole Revolutionary era to the Usual Gang’s usual treatment. (I’m still not sure Dave Berg was entirely in on the joke when he did “The Lighter Side of Valley Forge.”) The Onion, founded twelve years after the Big Whoop, did its bit in 2008 with a 225-year old, eight-page issue dated October 6, 1783, early in the nation’s first post-war era. “40,000 Pounds of Slave Have Been Lost at Sea,” one headline announces — a bit of deadpan brutality worthy of the 1794 “New Times.” —VCR

The 1783 Onion (2008), with Ben’s latest brainstorms.

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Online: “The Washington Post,” 2019

Top of fake Post front page.

Very early edition of the May 1 “Washington Post,” on stands January 16, 2019.

Parody OfThe Washington PostTitle: “The Washington Post”
Parody By: Jacques Servin, L.A. Kauffman, Onnesha Roychoudhuri.
Date: May 1, 2019 (distributed Jan. 16, 2019). Format: Eight-page broadsheet.
Contributors: L.A. Kauffman, Onnesha Roychoudhuri, Jacques Servin, etc.
Availability: Online as a PDF here at my-washingtonpost.com.

How did I miss this? Back in January, protesters marked the second anniversary of President Trump’s inauguration by handing out 25,000 copies of an eight-page fake Washington Post at the White House and D.C.’s Union Station. Dated May 1 of this year, the ersatz “Post” foresees The Donald being driven from office by a wave of women-led demonstrations to the sound of worldwide rejoicing. There are a handful of copies on eBay, but you can read and download the whole thing at this link.

The stunt was conceived last summer by Jacques Servin, half of the anti-corporate performance duo known as The Yes Men, as a way to rally support for Trump’s impeachment. Other organizers included longtime activist L.A. Kauffman and Brooklyn writer Onnesha Roychoudhuri, who helped shift the focus toward mass action with a 16-page insert called “Bye-Bye: A Guide to Bringing Him Down.” Masha Gessen of newyorker.com calls it “maybe the best primer now available on understanding protest.”

Parodies of the New York Times, New York Post and Boston Globe.

The Yes Men’s “Times” (2008) and “New York Post” (2009), the Globe’s 2016 mock front.

The Yes Men did something similar right after Barack Obama’s election in 2008, distributing 80,000 copies of a fourteen-page “New York Times” dated July 4, 2009, seven months in the future. It proclaimed “Iraq War Ends” and basked in the dawn of a New Progressive Era. (It’s online here, see also Steve Lambert’s link-filled post.) The “Times” was followed in September 2009 by a less sanguine “New York Post” that gave climate change 32 pages of classic tabloid scare treatment (“We’re Screwed: What You’re Not Being Told”). The mock WaPo isn’t quite as breathless, but it does assume the Current Predicament can be popped like a soap bubble and leave no mess behind.

"Trump Time" cover, 2016This latest “Post” is the third recent parody set in a Trumpian near-future, after the Boston Globe‘s fake front page in April 2016 headlined “Deportations to Begin” (online here) and Hachette’s supposedly post-election “Trump Time” two months later. “Trump Time” authors Tom Connor and Jim Downey, best known for “Is Martha Stuart Living?,” state right off that their fake newsmag is “not intended to be anything but funny,” but that very shallowness makes it the scariest to reread. The whole joke in “Trump Time” is that “Donald K. [sic]  Trump” in the White House would be the same rudderless dirigible as ever and laughably miscast: Imagine a President putting grifters in the Cabinet! Stoking ethnic tensions! Bashing “Loser Countries I Can Bomb the S#!t Out Of!!” Gotta be a joke, right?  —VCR

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“A Word with Punch,” 1847

Word with Punch cover

Parody Of: Punch. Title: “A Word with Punch.” Date: November 11, 1847.
Parody By: Alfred Bunn. Format: 12-page magazine. Contributors: Albert Smith, Shirley Brooks, George Augustus Sala. Availability: Nowhere online;  held by the British Library and a few other collections.

Strange as it seems, the first (known) magazine parody was conceived not by professional humorists but by one of their victims. Punch’s first star writer, Douglas Jerrold, was nicknamed “the Little Wasp” for his stinging humor and slight frame. In 1843, he began skewering a flamboyant theatrical impresario named Alfred Bunn, whom he called “the Poet Bunn” for his supposed literary pretensions. Jerrold never explained why Bunn was chosen, but for four years Punch ridiculed his productions, his management of Drury Lane and Covent Garden theaters and, especially, his 1846 breach-of-contract suit against soprano Jenny Lind, the “Swedish Nightingale.”

Bunn in Punch, 1845

“The Poet Bunn” seen by Punch, Oct. 11, 1845.

In October, a fed-up Bunn met with editor Albert Smith and writer Shirley Brooks of The Man in the Moon, a year-old humor monthly, who had their own quarrels with Punch. With another Moon man, George Augustus Sala, they created a twelve-page “squib” that turned the tables on Bunn’s chief tormentors at the magazine: Jerrold, editor Mark Lemon and writer Gilbert á Beckett. “A Word with Punch” isn’t an exact replica — there’s no political cartoon and too little art in general — but it’s close enough to make browsers look twice. It’s about the size and heft of Punch, with the same two-column format and the same price, three pence. The cover blares the word “Punch” in the real thing’s distinctive lettering below the much smaller “A Word with.” Below that, Mr. Punch stands glumly in a pillory amid discarded toys resembling his contributors while dog Toby hangs from a gallows.

Fake Warren's Blacking ad from A Word with Punch

A fake ad twists Lemon.

On the back, a parody of the famous Warren’s Blacking ad shows Lemon reflected as an ass; another ad offers old issues of Punch “in any quantity, and at any price, on the premises.” Inside are several columns of Punch-like anecdotes, puns and poems, but the heart is Bunn’s seven-page takedown of Jerrold, Lemon and á Beckett, called “Wronghead,” “Thickhead” and “Sleekhead” respectively. With relish and in detail, he exhumes their many theatrical flops, reprints their favor-begging correspondence and nit-picks their verse for faulty images, a blood sport back then. He calls Lemon “The Literary Pot-Boy” because he once ran a tavern. After quoting a bankruptcy petition from 1834 listing thirteen(!) failed magazines á Beckett had owned or edited, he tut-tuts:

Editor of thirteen periodicals and lessee of a theatre into the bargain! And all total failures! Poetry, prose, wit, humour, conceit, slander, sarcasm, and every order of ribaldry going for nothing! Where has been the public taste? – the people ought really to be ashamed of themselves for persisting in not buying so much genuine genius!

Caricatures of three Punch men

Mr. Punch’s “puppets” in Bunn’s parody.

He grudgingly acknowledges Jerrold’s “infinite ability” before calling him “one of the most ill-conditioned, spiteful, vindictive and venomous writers in existence. … [W]hatever honey was in his composition has long since turned to gall.” After all that, speaking directly to Punch, he warns:

In carrying out the purport of this little squib, I have confined myself … to matters of a literary nature…. Your puppets, who have assailed, ridiculed and caricatured me for years, without any reason whatever, will not … abandon this branch of their trade now that I have given them reason…. In that case, I am prepared to pay back any compliment I receive with the highest rate of interest allowed by law, and shall let you, and perhaps them, into a secret or two worth knowing.

Ever the showman, Bunn had 10,000 handbills printed to promote the parody and arranged for national distribution. It appeared on November 11 and may have sold as many as 6,000 copies.

Real Punch covers from the 1840s

Richard Doyle’s 1846 and 1847 Punch covers; the latter was used until 1956.

The response from Punch was … silence, at least in print, though there were reports of staff being dispatched to buy up all the copies of “A Word with Punch” they could locate. The attacks on Bunn ceased immediately and were never renewed, and the “secret or two” he claimed to know stayed secret; one Punch biographer called it “the only defeat of its kind in the magazine’s history.” As a bonus, two months later the courts ruled for Bunn against Jenny Lind, who had to pay him £2,000 damages. — VCR

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Online: Punch’s “Time,” 1960

Punch Time, cover.

Parody Of: Time. Title: “Time.” In: Punch, December 14, 1960.
Length: 10 pages, 2 in color. Contributors: Norman Mansbridge, William Hewison (art); no writer credits. Availability: Online right here; print copies scarce but findable.

Punch cover, December 13, 1960

Punch, 12/14/60

Here’s a last-minute Christmas present — all 10 pages of Punch magazine’s 1960 parody of Time. Though it was founded in 1841, Punch didn’t really go in for parodying other publications until Malcolm Muggeridge was editor in 1953-1957. The first and most famous spoof during his tenure was “The N*w Y*rk*r” (April 7, 1954), an eight-page payback for a mauling Harold Ross and Co. had administered two decades before (see “Paunch,” in the Jan. 13, 1934, New Yorker). Other 1950s targets included Radio Times, Reader’s Digest and Soviet humor magazine Krokodil.

Punch Time, pages 2 and 3

“Time” was the only feature-length magazine parody to appear under Muggeridge’s successor, Bernard Hollowood (editor 1958-1968). The next editor, William Davis (1969-1977), on the other hand, presided over a string of spoofs including Playboy (1971), Cosmopolitan (1972) and the Sunday Express newspaper (1973). Later editors seem to have lost interest in the concept, though I confess I haven’t looked at every issue.

Punch Time, pages 4 and 5.

Punch’s parody appeared just before the sea-change called The Sixties began to erode the self-confidence of Time Inc. and other pillars of the Establishment. It’s now a kind of time capsule itself, mocking the casual superiority, breezy omnipotence and unashamed biases of a major journalistic institution at the height of its power and influence. —VCR

Punch Time, pages 6 and 7

 

Punch Time, pages 8, 9 and 10

 

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Playboy Parodies 3: Foreign, 1963-2017

Lawboy coverPlayboy has launched dozens of international editions since 1972, but only a handful of foreign parodists have returned the favor. In 1963, students at Toronto’s Queens University Law School put out a 12-page tabloid called “Lawboy.” A collection of local in-jokes printed on newsprint and seemingly laid out at random, “Lawboy” barely qualifies as a Playboy parody, but it deserves a nod as the first to circulate entirely outside the U.S.

French-language Montreal humor magazines Croc and Safarir spoofed Playboy with more panache in 1990 and 2001, respectively. Croc’s 15-page “Playbec” offered an unclothed Jessica Rabbit and an exclusive interview with the Holy Trinity (two-upping 1983’s “Playbore,” which had only Jesus). Safarir’s self-titled spoof began on the back cover with buxom singer-actress Annie Dufresne crossing her eyes behind a feather boa; she also starred in the interview-pictorial that filled six of the feature’s 12 inside pages.

Playboy parodies from Montreal's Croc and Safarir

Toontown’s Jessica Rabbit and Montreal’s Annie Dufresne in Croc and Safarir.

Munich writer Hans Gamber self-published more than a dozen full-length magazine and newspaper parodies in Germany in the 1980s and early ’90s, beginning with a 1984 takeoff of Playboy’s German edition called “Playbock” (literally, “play-buck,” i.e., play money). His later targets ranged from Der Spiegel to the Asterix books; the former grumbled about trademark infringement, the latter took him to court over it and won. Gamber’s last magazine parody in 1992 was a second “Playbock,” notably thinner and less polished than the first. Both mixed original content with translated pieces from U.S. humor mags, including National Lampoon and 1983’s dueling Playboy parodies. Not one to waste material, Gamber later mined “Playbock” and his other men’s mag spoofs for a best-of collection cleverly called “Playback.”

Playbyte in NatLamp and Playbock 2

NatLamp‘s 1988 “Playbyte” and its German reprint in 1992’s “Playbock.”

“Wookieerotica,” from Australia, is a thick, perfect-bound “1970s style men’s magazine” from the Star Wars universe that doubles as souvenir program for a similarly themed burlesque show. The stripping was originally a sideline to the parody: “Since we were creating the costumes [for the magazine photos], we thought we’d put on a one-night show for a hundred of our friends and fans,” director/editor Russall S. Beattie told the Huffington Post’s David Moye in 2018. Star Wars Burlesque debuted in 2011 and instantly sold out; a revised and expanded version has since made five Australian tours and been seen by more than 50,000 people. This past summer, the company made its U.S. debut with a new edition called “The Empire Strips Back.”

Pages from Wookieerotica

Fur, girls, girls and more fur in “Wookieerotica.”

The show’s success slowed work on the magazine, but Sydney publisher Giant Panda King finally issued “Wookieerotica” in 2017 for $50 Australian ($36 U.S.). What that buys is easily the best-looking fake men’s mag ever published; over half the pages are artistic studies of the show’s performers waving lightsabers, posing nude in Admiral Ackbar masks and suchlike fan service. The ads for fake products like Imperial Strike cigarettes and Smirhoth vodka are well-observed, droll and deadpan.

Playboy was the pinup magazine of the ’70s and I wanted that,” Beattie told HuffPo. “I wanted the articles, I wanted ads, I wanted the reviews. Now we took that, and we parodied Playboy just as much as Star Wars.” Actually, there’s very little Playboy in “Wookieerotica” beyond a few borrowed phrases and an eye for female beauty. Most of the regular columns and features are absent; those that remain look more like standard Upscale Magazine Design than anything specific to Playboy or the 1970s. Significantly, “Wookieerotica” is plastered with disclaimers that it’s “not sponsored, endorsed by, or affiliated with” anything connected to Lucasfilm or Disney. There’s nothing similar about Playboy, nor does there need to be.      — VCR

Playboy Parodies, Part III: Foreign

A. Canada
“Lawboy,” Queens University Law School, Toronto, March 1963 (16)
“The Best of Playboar,” Razorback Press, Toronto, 1984 (64 + 4)
—— [reprint], Firefly Books, Willowdale, Ont., 1996 (64 + 4)
“Playbec,” in Croc, Montreal, Dec. 1990 (15)
“Safarir,” in Safarir, Montreal, Aug. 2001 (12 + 2c)
“The Very Best of Playboar: Special Edition,” Playboar Press, 2018 (84 + 4)

B. Great Britain
“Pl*yb*y” (for July 2078), in Punch, July 13, 1966 (4)
“Punch Goes Playboy,” Punch, Nov. 10, 1971 (34 + 4)

C. Germany
“Playbock,” by Hans Gamber, et al., MAYA Verlag, Munich, Winter 1984/85 (106)
“Playbock,” by Hans Gamber, et al., SAGA Verlag, Munich, 1992 (68)

D. Australia
“Wookieerotica,” by Russall S. Beattie, et al., Giant Panda King, Sydney, 2017

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Playboy Parodies 2: U.S. Newsstands, 1957-2018

Seven Playboy parody covers

Two competing Playboy parodies; three inside other mags; two from foreign parts.

(This is the second of a now three-part series on Playboy parodies. The first dealt with college parodies; the next will cover parodies circulated outside the U.S.)

Unlike their college brethren, commercial publishers in the 1950s and ’60s showed little interest in parodying Playboy. Theft was another matter: As long as Playboy’s sales kept climbing, rivals tried to duplicate its appeal. The last and most blatant imitation was Ronald Fenton and F. Lee Bailey’s Gallery, which debuted in November 1972, the same month Playboy sold a record 7.2 million copies. Gallery aped Playboy down to the length of the title (precisely seven letters) but succumbed to sleazery within a year or so.

Cover and pages of Plowboy

Cover, ad and bachelor pad from “Plowboy.”.

The outlier was “Plowboy,” issued in 1957 by an obscure outfit in Manhattan called Bannister Publishing. “Plowboy” was the only non-college Playboy parody of the ’50s and the only one before the Harvard Lampoon’s 1966 “Pl*yb*y” with wide distribution. It acknowledges the real thing’s chief Selling Points in a dozen pages of photo-agency cheesecake, though there’s no full nudity and the “Plowmate” is a pencil drawing. The standout piece is a four-page tour of “Plowboy’s Platinum Hayloft” worthy of a funnier and subtler magazine.

Pages from Mad's Playkid

A peek at “Playkid,” Mad #61 (March 1961).

Treating the Playboy fetish for brand names and status as literally childish, Larry Siegel and Bob Clarke put more satiric bite in the seven pages of Mad’s “Playkid” than there are in all of “Plowboy.” There’s nothing smutty or suggestive, Mad being famously prudish in that regard, but the very premise of “Playkid” is radioactive today and may have prompted second thoughts even in 1961: As far as I know it’s never been reprinted.

Pages from parodies in Sick and Cracked

Pallid parodies from Sick (June 1965) and a Cracked special (1968).

Mad wannabes Cracked and Sick also tackled Playboy in the ’60s. “Boysplay,” a 16-page, comic book-size bonus in Biggest Greatest Cracked #4, is touted as a “Lampoon Edition of Playboy” on the cover but looks more like a fast-food giveaway and can’t articulate its own premise, if it has one. Sick’s “Playbore” is the skeleton of a comic idea fleshed out with two-line jokes and slapdash art. Both make excellent arguments for ignoring Cracked and Sick.

Pages from Punch's U.S. Playboy

Hefner, Punch editor William Davis and Trog’s foldout; William Hewison aping Arnold Roth.

“Punch Goes Playboy,” with Norwegian actress-model Julie Ege on the cover, took up most of the English weekly’s November 10, 1971, issue and was reprinted in the U.S. the next fall with different ads and a 75-cent cover price. Trog’s four-page caricature of a nude Hugh Hefner is the visual highlight of both editions, which otherwise suffer from murky printing and lack of color. The writing, by contrast, is dead-on, nailing Playboy’s weakness for deep-sounding thumbsuckers (“Pollution and the Post-Vietnam Ghetto Interface,” by “Dr. Morton Krimhoretz, Ph.D., Jr.”) and workaholic Hefner’s pose as a carefree hedonist: “After a hectic day’s counting,” says one caption, “our November Playmate relaxes among his matchless collection of early American balance sheets.”

Pages from Playdead, 1973

Pages from NatLamp’s “Playdead,” Jan. 1973.

Harvard’s 1966 “Pl*yb*y” was a giant step on the road to National Lampoon, which tried to duplicate the earlier book’s success by running a centerfold parody in its very first issue. (Alas, the result was an unsexy, out-of-focus mess.) NatLamp tackled Playboy twelve times between 1970 and 1988 — more than any other publication — but the pièce de résistance was “Playdead” in the January 1973 “Death” number. Visually, “Playdead” is impeccable, from the Possum logo in the cufflinks ad to Warren Sattler’s full-color fakes of cartoonists Dedini, ffolkes, Buck Brown and John Dempsey. What’s almost shocking, and all the funnier for it, is how natural Playboy’s vision of airbrushed perfection looks in a mortuary. Unafraid of either bad taste (the Interviewee was newly dead Bonanza actor Dan Blocker, silent throughout) or puns like “Playmort of the Month,” “Playdead” is one of NatLamp’s greatest parodies. The mag turned to Playboy more and more as its creative juices dried up, spoofing single features and grinding out formulaic editions for gun lovers and computers.

Covers of semi- and non-parodies.

Semi-sorta spoofs from Howard the Duck and Wings flank covers that promise but don’t deliver from Laffboy and Bleep; below: “Laffboy” pages, Crazy and Girls & Corpses.

The only other publication to run multiple Playboy parodies was Playboy itself, with samples of four unlikely new editions I’ve written about here. Marvel’s Howard the Duck magazine (1981) promised a parody on its covers but followed through with eight vaguely Playboy-looking pages wedged between its usual black-and-white comics. Crazy (1974) and ultra-niche quarterly Girls & Corpses (2011) were even lazier, promising parodic goodies on their covers they failed to deliver inside. Ditto the two issues of Laffboy (1965) and one-shot Bleep (1974), oversized pulps with tired gags and bubble-captioned photo trying to pass as sophisticated satire. They’re mentioned here mainly as a warning. New-Age satire sheet Wings tried harder, devoting about a third of its March-April 1979 issue to “Playwings,” but most of the parody was typical Wings content poured into a barely modified layout; like “Playduck,” it failed to sweat the details.

Annie Fanny spoof from 73 magazine

Wayne Pierce’s ham-flavored tribute to Annie Fanny in “73” (1966).

73 Magazine was a technical monthly for ham radio buffs that ran from 1960 to 2003. Founder Wayne Green had soft spot for parody, and in April 1966 he ran a Playboy-like cover by reader Wayne Pierce, a high-school art teacher in Kansas City. Pierce also did four of the parody’s five inside pages, including a takeoff of “Little Annie Fanny” set in the world of ham radio obsessives. Pierce was no threat to Will Elder in the art department, but he’d obviously studied Harvey Kurtzman’s page layouts and storytelling rhythm; the fact that his hobby-specific jokes will sound like gibberish to most current readers is a surrealistic bonus.

Ironically, National Lampoon’s decline overlapped with the Great Parody Boom of the ’80s, whose harbingers were NL’s own “Dacron Republican-Democrat” in February 1978 and former NL editor Tony Hendra’s “Not The New York Times” that October. They were followed by scores of parodies of newspapers and magazines, including two of Playboy, one edited by Hendra, the other by his former collaborator Robert Vare.

Hendra and Vare had worked together on “NTNYT” and jointly edited the first “Off The Wall Street Journal,” which sold 350,000 copies in 1982 but showed only a tiny profit. After the two parted ways, Vare founded American Parody & Travesty Co. to produce a series of one-shot spoofs starting with “Playbore,” while Hendra became creative director on “Playboy: The Parody” for TSM Publishing, an offshoot of a marketing firm cofounded by former NatLamp publisher Gerald Taylor. Hendra recruited old associates David Kaestle, Danny Abelson and Rick Meyerowitz for “PTP,” which had led some sources to mislabel it an official National Lampoon publication. In fact, at least as many NL vets worked on “Playbore,” including Chris Miller, Jeff Greenfield and Ellis Weiner. (Bruce McCall somehow got into both.) George Plimpton, Roy Blount Jr., and soon-to-be Spy founders Kurt Andersen and Graydon Carter also had a hand in “Playbore,” while “PTP’s” stable included writer David Owen and Items From Our Catalog creator Alfred Gingold.

Three pages from Playbore

“Playbore” features, including a jab at Hef’s rivals Larry Flynt and Bob Guccione (center).

“Playbore” hit the stands in late September, two months before its rival, but in most respects “Playboy: The Parody” came out slightly ahead. It cost a dollar more, carried 29 pages of real ads to “Playbore’s” six, and better captured the look and tone of Playboy circa 1983, likely because it gained Hefner’s approval and used several of his photographers and models. Not surprisingly, it treated Hef and his empire relatively gently, while “Playbore” made running jokes of “Hugh M. Hepner’s” galloping senility, shrinking assets and eyebrow-raising decision to turn the business over to his daughter — a step the real Hefner had taken the year before. Its foldout showed “Crispie Hepner” lounging in a soapy bath as a certain pipe-smoking editor-publisher massaged her shoulders. “Playboy: The Parody” countered with a full-frontal fake of Princess Diana, which prompted a boycott by distributors in the U.K.

Four pages from Playboy the Parody

DIY pinups, Bruce McCall’s cars, JFK in ’63 and Annie as Grannie in “Playboy: The Parody.”

Sales of both parodies were good but not spectacular. Early on, Vare predicted “Playbore” might sell over a million copies; results were closer to 750,000. Taylor initially hoped “Playboy: The Parody” would do better than the Harvard Lampoon’s “Cosmopolitan,” which had sold a record 1.2 million copies in 1972, but TSM never announced final numbers; press runs for its later spoofs, including “Cosmoparody” (1984) and “Parody People” (1986), were around 750,000 copies each.

U.S. parodists mostly abandoned Playboy after ’83, as did many readers — circulation fell by a third during the 1980s — but Canada’s Thomas Hagey struck gold in 1984 with “The Best of Playboar,” a porcine entry in the then-hot subgenre of parodies starring animals. Hagey (pronounced “haig-y,” not “hoggy,” unfortunately) grew up on a pig farm in Kitchener, Ontario, and quit school after 10th grade. In 1977 he founded Playboar as a semi-serious annual for swine breeders, “about two-thirds information, like how to pick a good pig or what to do about nipple problems, and about one-third humor,” he told the Chicago Tribune. A switch to quarterly publication in 1980 didn’t work out, so he closed the mag and moved to Toronto. There he and editor Chris Lowry rendered Playboar’s six issues into a 56-page greatest-hits collection, which was issued simultaneously or thereabouts in Canada and the U.S. in 1984.

Three pages from "Playboar"

“Playboar’s” contents page and Littermate Taffy Lovely.

Disappointingly, “The Best of Playboar” bears little resemblance to Hefner’s vision — and not just because its cover girl/Littermate’s measurements are 24-26-22. In fact, the pictorial on fetching Taffy Lovely is one of the few features that follows Playboy’s format closely. Most other pages would look just at home in Self or Us or any other ’80s title with colorful text blocks and off-kilter photos. In contrast, Hagey and Lowry’s full-page ads for “Benson & Hedgehogs,” “Mudweiser” and other accoutrements of fine swine living are accurate to the last detail. Maybe, not having sought the Big Bunny’s approval, they decided to steer wide of trespassing on any trademarks.

And maybe more readers are into pigs than parody: When first published, “The Best of Playboar” sold some 300,000 copies. Reprints pushed total sales over a million, making “BoP” the best-selling Playboy parody ever. This past June, Hagey published an enlarged edition in Canada, “The Very Best of Playboar,” bringing swinish behavior into the Age of Weinstein and Trump.

The following census is divided into two categories: issue-length newsstand specials (all at least 40 pages long), and shorter features in other publications. Cover-only and single-article parodies are so marked; as are the dates on parodies of back issues. Each listing contains the work’s title (in quotes), publisher or publication, date and page count (in parentheses). Stand-alone parodies that don’t count covers as pages are marked “+ 4.”

Playboy Parodies II: On U.S. Newsstands, 1957-2018

A. Stand-alone Parodies:

“Plowboy.” Bannister Publications, Spring 1957 (48 + 4)
“Punch Goes Playboy.” [reprint of 1971 U.K. parody with new ads]. Punch, 1972 (44 + 4)
“Playbore.” American Travesty and Parody, Fall 1983 (98)
“Playboy: The Parody.” Taylor-Shain Media, Winter 1984 (102 + 4)
—–. partly reprinted in What a Pair, Taylor-Shain Media, 1985 (40 + 38 pages of TSM’s “Cosmoparody”)
“The Best of Playboar,” by Thomas Hagey. Day Dream Publishing, Santa Barbara, Cal., 1984 (56 + 4)
—–. Firefly Books (U.S.) Inc., Buffalo, N.Y., 1996 (56 + 4)
“The Very Best of Playboar: Special Hardcover Edition,” by Thomas Hagey. Playboar Publishing, 2018 (84) [available in the U.S. on Kindle]

Four parodies from Esquire and National Lampoon

Single-feature spoofs from Esquire (1965, 1969) and National Lampoon (both 1982)

B. Parodies in Magazines:

“Playkid,” Mad #61, March 1961 (7)
“Laffboy,” KMR Publications, Feb. 1965 (COVER ONLY)
“Laffboy,”KMR Publications, Apr. 1965 (COVER ONLY)
“Playbore,” Sick, June 1965 (12)
“I, Playboy, take thee, Reader’s Digest…,” Esquire, Aug. 1965 (1)
73 magazine cover“73,” 73 Magazine, April 1966 (5 + 1)
“Boysplay,” Biggest, Greatest Cracked #4, 1968 (16)
“Liberated Front,” National Lampoon [article], April 1970 (8)
“Esquire Interview: Hugh M. Hefner” [article], Esquire, Dec. 1970 (3+)
“Gamma Hutch: The Playboy Fallout Shelter” (Dec. 1958) [article], National Lampoon, April 1972 (4)
“Playdead,” National Lampoon, Jan. 1973 (14)
“Bleep,” Bleep Publications, 1974 (COVER ONLY)
“Playboy” [obscured], Crazy #10, April 1975 (COVER ONLY)
“Playboy [in Cyrillic]: New Soviet Edition,” Playboy, Jan. 1977 (7)
“Playwings,” Wings, March/April 1979 (20? + 1)
“Playboy: New Chinese Edition,” Playboy, Sept. 1979 (7)
“Playduck,” Howard the Duck magazine #4, March 1980 (8 + 1)
“Parents of the Girls of the Eastwest Conference” [article], National Lampoon, Feb. 1982 (2)
“The Playboy Advisor” [article], National Lampoon, Feb. 1982 (1)
“Dear Playmates” [article], National Lampoon, June 1983 (1)
“Playboy” (November 1963), in “Playboy: The Parody,” Winter 1984 (15 + 1-page intro)
“Prayboy: Entertainment for Far-Righteous Men,” Playboy, Dec. 1984 (8)
“Slayboy,” National Lampoon, Dec. 1985 (8)
“Playbyte,” National Lampoon, Feb. 1988 (10)
“Feminist Party Jokes” [article], National Lampoon, March 1986 (1)
“Interview: Steven Spielberg” [article], National Lampoon, Aug. 1986 (3+)
“Playboy” (Jan. 1000 A.D.), Playboy, Jan. 2000 (4)
“Girls & Corpses,” issue # 5, Spring 2011 (COVER ONLY)

— VCR (updated 12/11/18)

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