Welcome to our National Lampoon Magazine list. We sell Back Issues, Used Magazines, Past Issues and Old Mags at competitive prices, we ship to most of the free world. National Lampoon was started by Harvard graduates and Harvard Lampoon alumni Doug Kenney, Henry Beard and Robert Hoffman in 1969, when they first licensed the 'Lampoon' name for a monthly national publication. The magazine's first issue was dated April 1970. The company that owned the magazine was called Twenty First Century Communications. Listings of the first five years of National Lampoon magazine.
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National Lampoon Magazine Rack
J. Naughton, MoDMan, P. Cummin National Lampoon Magazine Rack Publisher: National Lampoon Press (April 1, 2008) Language: English Pages: 208 ISBN: 978
National Lampoon 1964 High School Yearbook by P.J.
National Lampoon 1964 High School Yearbook by P.J. ORourke Great Blast From The Past! National Lampoons High School Yearbook: First released in 1974 and a two
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NATIONAL LAMPOON REVISITED - Welcome to The
LIVENationalLampoon_12.4TranscriptQUERIES 3 the book tonight, and it will be signed by all of the National Lampoon veterans who are still alive.
national lampoon 1964 high school yearbook (pdf) by p.
national lampoon 1964 high school yearbook (pdf) by p. j. o (ebook) National Lampoons High School Yearbook: First released in 1974 and a two-million-plus
NATIONAL LAMPOON CEO AMONG 7 INDIVIDUALS
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Click here - for a direct dowlnoad!The first time that the Simpsons’ writer, producer and showrunner Mike Reiss read National Lampoon magazine, he had swiped his older brother’s copy of the Lampoon’s Best of #4, which he remembers as a compendium of the greatest bits from the fourth year of the Lampoon’s existence. “That was the best stuff from the best year of probably the best humour magazine ever, and that was the first thing I saw. It hooked me,” said Reiss. “I remember thinking, if I get a lot better or if the magazine gets a lot worse, I bet I can work there.” He achieved his goal, joining the staff of the Lampoon after he graduated from college: “I didn’t get any better, but the magazine did get a lot worse.”
It’s the fast rise and slow decline of what might be America’s greatest humour magazine that is documented in Doug Tirola’s film Drunk Stoned Brilliant Dead. While Reiss may mostly remember the funny parts of Best of #4 – and if you pick up a copy now, you’ll see it includes a cat and mouse parody called Kit ’n’ Kaboodles that is remarkably similar to The Simpsons’s Itchy and Scratchy – the Lampoon wasn’t all comedy.
“I had a piece in there called The Love Song of J Edgar Hoover,” notes Sean Kelly, a longtime writer and editor at the National Lampoon.
“That was an illuminating piece,” said Reiss. “Among a bunch of comics – dirty comics, violent comics – there’s a great piece of political and literary satire.” It was that mix of the risqué and the raucous, the bawdy and the political, the lowbrow and the smartly satirical that made the Lampoon so influential.
During its relatively brief heyday from its launch in 1970 until the mid-70s when founders Doug Kenney and Henry Beard took advantage of a buy-out clause in their contracts, the magazine left an indelible mark on modern comedy. With comics working under the title including Gilda Radner, Bill Murray, John Belushi, Reiss and Al Jean of The Simpsons, as well as directors John Hughes, Harold Ramis and Christopher Guest, the Lampoon legacy continues to loom large.
Like most people of a certain age, director Doug Tirola found National Lampoon through one movie – Animal House. “Seeing that movie made me want to find out everything,” said Tirola, who saw it aged 10. (“It’s an excellent movie for 10-year-olds,” said Kelly. “A little older and it might corrupt you.”)
Tirola’s film documents the Lampoon’s origin story and ends with the magazine’s slow demise into what seems like flagrant commercialism. Through a clever use of photos, magazine illustrations and interviews, the movie takes fans into the Lampoon’s office (where you could “get high just from walking in”) and reveals the magazine’s editorial process. The first step to get a story into the Lampoon was “to get Henry or Doug to react positively to your idea”, says contributor Anne Beatts. After that, there was only one way to get your work done: “You get drunk, you go home, you wake up in the morning, and you write your piece,” explains contributor John Weidman in the film.
In Drunk Stoned Brilliant Dead, the Lampoon contributors’ mutual admiration shines through. Kelly cannot keep the awe out of his voice reminiscing about working with illustrators Gahan Wilson and Neal Adams (“He was the Batman artist! He was a legend.”). But it wasn’t just the paid employees who adored the magazine. In the film, director Judd Apatow admits that when he started his career he was “just trying to be those guys”.
Realising that they had tapped into the cultural zeitgeist, Kenney and Beard quickly expanded the Lampoon into other genres, including movies like Animal House and Caddyshack; comedy albums, live shows and the National Lampoon Radio Hour, which aired on radio stations across the country. The new media required an influx of talent, many of whom were brought in from Chicago’s comedy club the Second City, including Murray, Belushi, Radner and Chevy Chase. (In the film, Chase shares a haunting memory of his time with Kenney days before he fell to his death in Hawaii at the age of 33.)
The film also shows that the Lampoon’s skill partly lay in what Beard called “looting” the archives of pop culture. Because of their deftness at it, by the time Reiss came along in the early 80s the Lampoon had burned out of a lot of topics. “Things like this have a life of four or five years and then you just run out of stuff,” said Reiss. “When I worked there, which was just 10 years into the life of the magazine, I would sit there and think, ‘what haven’t we done?’” (Now in his 27th year at The Simpsons, Reiss admits they’ve run into that problem, too.)
According to Reiss, by the time he came on board, “The magazine was in steep decline. It was ’81 or ’82.” Kelly explained that by that point, a lot of the original and even second-generation writers were leaving the magazine to have what he described as “real careers”. “The magazine was staggering around,” says Kelly.
“Everyone there was strapping on parachutes,” agrees Reiss. “Everyone was locking the door of their office and typing up Hollywood scripts. What made us jump was that Al Jean and I were assigned a piece that was supposed to be a parody of Indiana Jones as a gynaecologist. Al and I were trying to write this piece and we had never had torture like that. We were fighting it. We couldn’t even get a first line! Then we got a call from Hollywood and they wanted us to come the next day and we said ‘Thank you God!’ We didn’t really want to go to Hollywood, but we really didn’t want to write that piece.” Someone else was assigned the story, Reiss went to Hollywood and never went back to work at the Lampoon.
Kelly noted that the magazine’s decline was because the founders opted to take the buy-out clause and their publisher was forced to fork over an enormous amount of cash. “Never try to screw a couple of Harvard guys,” laughed Kelly. “Suddenly there was this incredibly successful magazine that had no money!” The lack of funds added to the brain drain from the magazine, because the Lampoon simply didn’t have the resources to make counter offers.
It was around that time that Saturday Night Live started and Lorne Michaels was able to lure Chase, Murray, Belushi and Radner from National Lampoon Radio Hour and bring them on board to Saturday Night Live. “One of the greatest things this movie showed was almost like a detective story showing how Saturday Night Live was just stolen from the National Lampoon, lock, stock and barrel,” says Reiss. “Everything that Lorne Michaels gets credit for was already there! I don’t know what he brought to it.”
As talent left, the magazine started to flail. “One would have thought that Animal House would have pushed it back up, but it didn’t happen,” said Kelly. “Some of us felt that the Lampoon should grow up with its audience, which is what Rolling Stone did, but others thought it should get more tits and ass – which is what it did.”
The magazine doubled down on smut, the talent dwindled and the Lampoon’s star faded. One thing that seems clear from the film, though, is that the Lampoon as it was in its heyday, could never exist today. “People got the joke back then, but they wouldn’t get the joke now,” said Reiss. “Now you’re at the mercy of the stupidest person seeing your work.”
Kelly is quick to add: “Especially if they have letterhead.”
National Lampoon Magazine
- Drunk Stoned Brilliant Dead is in theaters and available via iTunes now.