A Quote by Nat Hentoff

I was co-editor of the magazine called The Jazz Review, which was a pioneering magazine because it was the only magazine, then or now, in which all the articles were written by musicians, by jazz men. They had been laboring for years under the stereotype that they weren't very articulate except when they picked up their horn.
I got that experience through dating dozens of men for six years after college, getting an entry level magazine job at 21, working in the fiction department at Good Housekeeping and then working as a fashion editor there as well as writing many articles for the magazine.
I was interested in creating things that I could be proud of and so, you know, I was interested in being an editor of a magazine, things that I could be proud of, and so, you know, I was interested in being an editor of a magazine, but in order to be an editor of a magazine I had to become a publisher as well. I had to pay the bills. I had to worry about the printing and the paper manufacturing and the distribution of that magazine.
My very first venture was a national student magazine to try to campaign against the [Vietnam] War. And so I wanted to be an editor. I wanted to bring the magazine out. And in order for the magazine to survive I had to worry about the printing and the paper manufacturing and the distribution. And, you know, I had to try to, at the end of the year, have more money coming in than going out.
I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.
I set up this magazine called Student when I was 16, and I didn't do it to make money - I did it because I wanted to edit a magazine. There wasn't a national magazine run by students, for students. I didn't like the way I was being taught at school. I didn't like what was going on in the world, and I wanted to put it right.
Obviously, The Glamazon has been covered in every wrestling magazine known to man, including WWE Magazine, however, I've always wanted to do a fitness magazine.
I have always loved jazz music and as a teen growing up in New York City and then later on as an adult have great memories of the jazz clubs that were all located on 52nd Street. I still catch as many jazz shows as I can when I am in New York. And when I perform, I have my jazz quartet by my side. Jazz musicians keep things spontaneous and very "live," which is the way I like to perform.
There was a great magazine in the '80s called 'Cinemagic' for home moviemakers who liked to do monster and special effects movies. It was like a magazine written just for me.
The market for short stories is hard to break into, but a magazine editor isn't always looking for big names with which to sell his magazine - they're more willing to try stories by newcomers, if those tales are good.
It's hard to say, I picked one of my favorite articles for the MAD vault. Which is one of the features of the Magazine so they don't have to actually pay artists or writers to come up with new stuff.
If you're an editor at TIME magazine or writer at TIME magazine and you are shocked to look at real documented research that says men and women are different - what in the world did you believe beforehand?
The first review our band ever got - when I was 17 years old and we had just released our first EP, and this tiny little magazine wrote a review on it, and for that month, we were the best album of the month, and we were also the worst album of the month. We won best and worst album of the month in the same magazine.
I wanted to work in Hollywood. I was captivated by it. I read 'Premiere Magazine' and 'Movieline Magazine' and 'Us' before it was a weekly magazine.
I was writing very early, like I was involved in our high school literary magazine, which was called 'Pariah.' The football team was the Bears, and the literary magazine was 'Pariah.' It was great. It was definitely a real sub-culture. But I wrote stories for them.
The fact must never be forgotten that no magazine publisher in the United States could give what it is giving to the reader each month if it were not for the revenue which the advertiser brings the magazine.
I guess I showed certain signs of being a workaholic in early years; I had a magazine route very early on - I must have been about seven or eight years old or something like that - when I was carrying Liberty magazine, trying to win green and brown coupons; I eventually [won] a pony.
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