You know MAD. Do you know Humbug? Harvey Kurtzman changed the face of American humor when he created the legendary MAD comic. As editor and chief writer from its inception in 1952, through its transformation into a slick magazine, and until he left MAD in 1956, he influenced an entire generation of cartoonists, comedians, and filmmakers. In 1962, he co-created the long-running Little Annie Fanny with his long-time artistic partner Will Elder forPlayboy, which he continued to produce until his virtual retirement in 1988. Between MAD and Annie Fanny, Kurtzman’s biographical summaries will note that he created and edited three other magazines―Trump, Humbug, and Help!―but, whereas his MAD and Annie Fanny are readily available in reprint form, his major satirical work in the interim period is virtually unknown. Humbug, which had poor distribution, may be the least known, but to those who treasure the rare original copies, it equals or even exceeds MAD in displaying Kurtzman’s creative genius. Humbug was unique in that it was actually published by the artists who created it: Kurtzman and his cohorts from MAD, Will Elder, Jack Davis, and Al Jaffee, were joined by universally acclaimed cartoonist Arnold Roth. With no publisher above them to rein them in, this little band of creators produced some of the most trenchant and engaging satire of American culture ever to appear on American newsstands.

Approximately 300 daily and weekly newspapers flourished in New York before the Civil War. A majority of these newspapers, even those that proclaimed independence of party, were motivated by political conviction and often local conflicts. Their editors and writers jockeyed for government office and influence. Political infighting and their related maneuvers dominated the popular press, and these political and economic agendas led in turn to exploitation of art and art exhibitions. Humbug traces the relationships, class animosities, gender biases, and racial projections that drove the terms of art criticism, from the emergence of the penny press to the Civil War. The inexpensive “penny” papers that appeared in the 1830s relied on advertising to survive. Sensational stories, satire, and breaking news were the key to selling papers on the streets. Coverage of local politicians, markets, crime, and personalities, including artists and art exhibitions, became the penny papers’ lifeblood. These cheap papers, though unquestionably part of the period’s expanding capitalist economy, offered socialists, working-class men, bohemians, and utopianists a forum in which they could propose new models for American art and society and tear down existing ones. Arguing that the politics of the antebellum press affected the meaning of American art in ways that have gone unrecognized, Humbug covers the changing politics and rhetoric of this criticism. Author Wendy Katz demonstrates how the penny press’s drive for a more egalitarian society affected the taste and values that shaped art, and how the politics of their art criticism changed under pressure from nativists, abolitionists, and expansionists. Chapters explore James Gordon Bennett’s New York Herald and its attack on aristocratic monopolies on art; the penny press’s attack on the American Art-Union, an influential corporation whose Board purchased artworks from living artists, exhibited them in a free gallery, and then distributed them in an annual five-dollar lottery; exposés of the fraudulent trade in Old Masters works; and the efforts of socialists, freethinkers, and bohemians to reject the authority of the past.

With his trademark eloquence and humour, Robert Dessaix, one of Australia's eminent writers, tackles humbug in the modern world-the tide of mumbo jumbo where words fall short of what they mean and motivations are not always what they appear.

It’s Christmastime in Skary, Indiana, but the holiday season has been hijacked by maverick director Lois Stepaphanopolis as she attempts to bring her horror-ific vision of A Christmas Carol to life. But the holly-decked path from page to stage is a thorny one, as Lois attempts to rally her skeptical cast, including new father Wolfe Boone, and then she learns that her reluctant marketing director, Alfred Tennison, is truly a Christmas Scrooge. Alfred’s grassroots marketing plan proves more than successful as the buzz builds that Skary should anticipate an overflowing audience for their opening night– but a crucial miscommunication leaves the visiting theatergoers expecting of a very different Christmas production. As chaos ensues, can the actors pull off an improv miracle — and can the Skary community convince their own Scrooge to embrace the true meaning of Christmas?

Troupe Theatre Programs.

A timely retelling of A Christmas Carol for the whole family about a smartphone-obsessed dad. This Christmas, join Michael Rosen and Tony Ross with their unforgettable retelling of Charles Dickens's beloved holiday classic. Harry Gruber plays the role of Scrooge in his school's production of "A Christmas Carol," and he is extra nervous about tonight's performance because his father is in the audience — not away for business, as usual. Will the story's message of Christmas cheer and the redemptive power of love reach his father's distracted Scrooge heart?

Ebenezer Scrooge from Charles Dickens’s A Christmas Carol investigates a shocking murder — before he becomes the next victim — in this playful mystery in a new series from a New York Times bestselling author. Scrooge considers himself a rational man with a keen sense of deductive reasoning developed from years of business dealings. But that changes one night when he's visited by the ghost of his former boss and friend, Fezziwig, who mysteriously warns him that three more will die, and ultimately Ebenezer himself -if he doesn't get to the bottom of a vast conspiracy. When he wakes the next day, Scrooge discovers that not only is Fezziwig dead, but he's under arrest as all evidence points toward himself: Scrooge's calling card was found in the cold, dead hand of Fezziwig's body, and someone scribbled 'HUMBUG' in blood on the floor nearby. Now, Scrooge must race against the pocket watch to clear his name, protect his interests, and find out who killed his last true friend-before the 'Humbug Killer' strikes again. Joining Scrooge in his adventures is a spunky sidekick named Adelaide, who matches his wits at every turn, plus the Artful Dodger, Fagin, Belle, Pickwick, and even Charles Dickens himself as a reporter dealing in the lurid details of London's alleyway crimes. Full of action and wry humor, The Humbug Murders is a fun take on a classic character—Scrooge as you’ve never seen him before 'A gritty period mystery that features clever appearances by Dickens and several of his characters. It will appeal... to fans of Michel Faber’s The Crimson Petal and the White' – Library Journal 'It's all here in Oliver's tale set during the run-up to Christmas, 1833... Includes enough action and sufficient twists and turns to provide some fun by the fireside, accompanied, perhaps, by a nice glass of Madeira' – Publishers Weekly