Doug Gilford's Mad Cover Site - Mad #17
Mad Magazine #17 has 12 ratings and 2 reviews. Featuring Basil Wolverton's horrifying Meet Miss Potgold--plus classic spoofs of Julius Caesar, What's M. Perhaps the best examples of this style are found in“MAD Reader” (Mad #11, ) and“Meet Miss Potgold” (Mad #17, ). These images created by. "Meet Miss Potgold!" - Basil Wolverton - Mad Monday! Basil Wolverton returns to the pages of "Mad" THE COMIC BOOK for a feature only he.
The artist also achieved this effect by using a different technique than most professional cartoonists. While others used brushes he always preferred pen and ink. Naturally there were many people who dismissed his work as ugly.
Some, like William M. Gaines and Jules Feiffereven utterly hated it. But for the attentive observer Wolverton's art is far more skilled and calculated than it may seem at first sight.
More importantly, there was no other artist at the time who drew like him. His characters have a zaniness and elasticity which was quite unusual for the s and s, save perhaps in the animated cartoons of Tex Avery and Bob Clampett. It was only a tiny step for him to go from monstrous faces to drawing actual monsters and extraterrestrial aliens. In the early s he drew various horror and science fiction stories for Stan Lee 's pre-Marvel Atlas line as well as the comic books published by Stanley P.
Wolverton was among its pioneers. Although his stay was brief and the amount of actual comics low he still left a remarkable impact behind. Originally he was mostly asked to express his trademark skill: Kurtzman had commissioned just one hideous face, but Wolverton handed in two illustrations. The first one was used in issue 10 April for a parody of H. The entire story was drawn by Jack Davisbut the final image of the actual face on the floor was illustrated by Wolverton. His second drawing was used on the front cover of Mad's next issue Maywhich parodied Life Magazine's "Beautiful Girl of the Month".
The eye-catching image featured a blistery, horse-faced hag who laughed her pointy teeth out. The anarchic parody cemented Mad's counterculture public image. Life actually threatened to sue, but chief editor William M. Gaines sussed them by promising they wouldn't do it again a promise he broke several times after.
Wolverton's hideous hag became the most famous 'Mad' cover of all time and impressed quite some young readers. Both Robert Crumb and Art Spiegelman remembered this cover vividly as their first memory of Mad, the magazine which would soon inspire their own comics. It was once again merely an excuse to draw various contestants with hideous and hilarious goofy faces.
Several panels of this particular comic had to be retouched because some editors felt they were too sexually suggestive. Some psychiatrist or editor said my material wasn't fit to publish because it was rife with sex suggestions and symbols.
It's like the monkey which, if he pounded away for a million years, might accidentally type out the 'Star Spangled Banner' lyrics. His final illustrations for the magazine appeared in issue September with the article 'Sports Cars We'd Like to See'. Wolverton also published in another magazine by EC, namely Panic! His gift for grotesquery was put to good use at the chewing gum company Topps, where he created the 'Topps Ugly Hang-Ups' poster series for editor Woody Gelman.
Three beauties from Topps Ugly Hang-Ups series Religious artwork Just when it seemed that Wolverton would be condemned to a lifetime of doodling nothing but goofy and repulsive faces, he switched over to other projects. Few would assume that such an outrageous artist like him was in fact a very devout Christian! The cartoonist preached in a small congregation in Portland, Oregon. Armstrong offered him a position as evangelist, complete with an office and secretary.The Letter People - 07 - Meet Miss A
But Wolverton declined because he didn't like office jobs, nor the idea of moving to another state. He did take the offer to create some biblical illustrations for Armstrong's books, magazines and pamphlets, though.
In the early s Wolverton was asked to visualize what he thought the Apocalypse would look like? He did it with the same panache as his humorous comics, but far more disturbing.
He wanted to reach younger audiences, but not with the kind of romanticized family friendly junior bibles that already existed. To him all biblical disasters and God's wrath had to be depicted as scary and horrible as possible.
The cartoonist achieved his goal easily, thanks to his experience in illustrating horror comics.
Mad Magazine Contributors
When the second volume of 'The Bible Story' appeared in print, editors censored the image of people drowning during The Great Flood to avoid parental complaints. The only thing that Wolverton ever toned down was his trademark cartooniness.
And for the first time he actually did research. Not just by reading the Bible, but also by asking historians more information and visual documentation about ancient Israel.
Between and the series was published in six volumes by Ambassador College. A posthumous collection, 'The Bible Story' followed, but the most recent and complete release is 'The Wolverton Bible' by Fantagraphics.
Inside Jeff Overturf's Head : « Meet Miss Potgold ! » - Basil Wolverton
Wolverton always felt his biblical illustrations were his personal masterpiece. He never considered a comic book version of the New Testament, since the depiction of Jesus would be a violation of the Second Commandment.
But he sincerely hoped that his biblical epics would be the one thing people would remember him for. Final years Comics collector Glenn Bray brought Wolverton's work back to the attention of comics affectionados with the release of the "underground" comic books 'Basil Wolverton's "Gjdrkzlxcbwq" Comics'featuring the most grotesque gallery of freaks and weirdos, and 'Basil Wolverton's Foopgoop Frolics Frantic Funnies Folio' Later in his career Wolverton illustrated several covers for Joe Orlando 's satirical comic book 'Plop!
In Wolverton briefly turned to self-publishing and released one issue of 'Common Types of Barflyze'. The publication was less sexually explicit than actual underground comix but still quite an unusual work for the company.
Since Wolverton's work for Mad had been such an influence on the underground comix movement, down to his cross-hatching! He drew two comics for them, 'Calvin' and 'Weird Creatures'. In November of that same year his artwork also appeared in Hugh Hefner 's Playboy.
In the veteran cartoonist suffered a stroke which brought an abrupt end to his career. He passed away four years later, in Legacy and influence Basil Wolverton had a huge impact on the underground comix movement and inspired artists like Robert CrumbJay LynchS.
Harvey Kurtzman felt "Wolverton never borrowed, never hacked, and he never shortchanged the public. This is a good deal of the reason why he was what few of his contemporaries could claim: Wolverton was an original. Published on October 03, To all those pernicious gaps that separate mankind from the achievement of his full potential-the generation gap, the credibility gap, the gender gap, the missile gap-add one more: Truly insipid advertising-the kind that causes eyes to roll, heads to nod and palms to slap disbelieving foreheads-is disappearing from the U.
This is a bad thing. The disappearance of stupid advertising has deprived Americans, so riven by political, sectarian, and geographic disputes, of one of our few unifying platforms: Instead, we are forced to engage in stultifying debates about who, what or which is "the best"-the best bistro, the best pitcher in baseball, the best dressed and now, thanks to USA Today, Stuart Elliott, the One Show, and the Super Bowl, the best TV commercial of the year. As if arguing about the best of anything could ever substitute for coming to glorious agreement about the worst: Thankfully a new book puts stupid advertising back on the pedestal on which it belongs: Hard as it is to believe in this era of John Stewart, the media didn't bite the hands that fed them.
Mad felt no such compunctions. Its equal-opportunity skewerings were among the high points of 20th century humor.
And they wouldn't have been possible without stupid advertising!