Word: kaplan
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...HARVARD LAMPOON has recently undergone a changing of the guard while, almost simultaneously, a new magazine (founded by Poon alumni), The National Lampoon, has made its debut across the country with an initial circulation of 500.000. Martin H. Kaplan heads the local Lampoon's New Regime and has made no bones about the new Jewish flavor at the Poon in his Spring Issue entitled "The Nineteen Seventy Schmeventy Number...
...lead article. Kaplan writes about Ibis's reaction to the new decade: "'Ninety-seventy, nineteen-schmeventy.' he [Ibis] sighed." not unaware of the ethnic implications of the syntactical construction he had chosen.'" The Spring Issue is better than usual, perhaps because most of the pieces were written by novice Poonies, who haven't yet been trapped by the traditional, overly esoteric Lampoon style...
...NATIONAL LAMPOON, in its April debut, did not fare nearly as well as the first issue of Kaplan's local group. Three Lampoon legends, Douglas C. Kenney, Henry N. Beard, and Robert K. Hoffman, had done a lot of work on the nationally distributed parodies of Playboy, Life. and Time magazines. The financial success of these ventures evidently went to their heads, and they decided to try their own national monthly using the Lampoon name...
According to Kaplan. "They wanted to start another humor magazine because there is no national equivalent to Punch (a British publication), and Mad is too high schoolish..., Twenty-First Century agreed to pay for it and the Lampoon agreed to franchise the name." Kaplan said that the franchise gives the local Lampoon the right to have the final say on all National Lampoon copy. Unfortunately, Kaplan did not exercise his option of editing the April galley proofs, although he did make changes in the forthcoming May edition...
...Kaplan maintains that stage fright derives from "all levels of psychosexual development." He points to the anxious adult's tendency to touch his nose or mouth or chin, acts rooted in the infant's use of its own hand as a source of physical comfort when its mother -its source of sustenance-is absent. The actor fears a hostile or unappreciative audience, but knows he must perform, that his hands and body are strictly choreographed; he is defenseless at the height of his anxiety. (As opposed to the paranoiac, who can try to flee his imagined dangers...