place throughout Europe. Anatoly Lunacharsky wrote ‘Satire attains its greatest significance when a newly evolving class creates an ideology considerably more advanced than that of the ruling class, but has not yet developed to the point where it can conquer it. Herein lies its truly great ability to triumph, its scorn for its adversary and its hidden fear of it. Herein lies its venom, its amazing energy of hate, and quite frequently, its grief, like a black frame around glittering images. Herein lie its contradictions, and its power.’ Many social critics of this same time in the United States, such as Dorothy Parker and H. L. Mencken, used satire as their main weapon, and Mencken in particular is noted for having said that "one horse-laugh is worth ten thousand syllogisms" in the persuasion of the public to accept a criticism. Novelist Sinclair Lewis was known for his satirical stories such as Main Street (1920), Babbitt (1922), Elmer Gantry (1927; dedicated by Lewis to H. L. Mencken), and It Can't Happen Here (1935), and his books often explored and satirized contemporary American values. The film The Great Dictator (1940) by Charlie Chaplin is itself a parody of Adolf Hitler; Chaplin later declared that he would have not made the film if he had known about the concentration camps. Modern Soviet satire was very popular in the 1920s and 1930s. This form of satire is recognized by its level of sophistication and intelligence used, along with its own level of parody. Since there is no longer the need of survival or revolution to write about, the modern Soviet satire is focused on the quality of life. In the United States 1950s, satire was introduced into American stand-up comedy most prominently by Lenny Bruce and Mort Sahl. As they challenged the taboos and conventional wisdom of the time, were ostracized by the mass media establishment as sick comedians. In the same period, Paul Krassner's magazine The Realist began publication, to become immensely popular during the 1960s and early 1970s among people in the counterculture; it had articles and cartoons that were savage, biting satires of politicians such as Lyndon Johnson and Richard Nixon, the Vietnam War, the Cold War and the War on Drugs. This baton was also carried by the original National Lampoon magazine, edited by Doug Kenney and Henry Beard and featuring blistering satire written by Michael O'Donoghue, P.J. O'Rourke, and