A Quote by Annie Leibovitz

When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't. — © Annie Leibovitz
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't true. What became important was to have a point of view.
I came over here and worked for rock magazines, and I worked for Rolling Stone, which has a very high standard of journalism, a very good research department.
I reluctantly signed up for a journalism major, thinking I needed a fall-back way to make money should my career as a novelist fail to take off. As I started to try on journalism, including doing internships and working at the campus paper, I found I actually liked it. So I started to want to be a journalist.
One thing that changed when I moved upstate was that I became interested in different materials. I started making the stone benches because I was seeing rocks.
I wasn't, like, this top model; I was quietly doing my work, and when I became an actress, people started doing research, and everybody found out. People dug out photos, and suddenly people became interested - but no one was interested in my photos when I was a model.
At some point around '94 or '95, 'Rolling Stone' said that guitar rock was dead and that the Chemical Brothers were the future. I think that was the last issue of 'Rolling Stone' I ever bought.
It has been said that a rolling stone gathers no moss. I would add that sometimes a rolling stone also gathers no verifiable facts or even the tiniest morsels of journalistic integrity.
These people that worked with my dad doing landscaping were in a grunge band so the music on the cover of Rolling Stone was in a very real way connected to people practicing in the woods near my house while I was home doing my homework.
I was interested in virtual reality for several years even before working at USC, it wasn't an interest that started there at all. In fact, when I started working at USC, I already had prototypes of the Rift that were very similar to the final design.
Joe Klein is the flower of American political journalism, a sharp raconteur who shows traces of the gonzo style that was in vogue when he was honing his craft at Rolling Stone back in the day.
My first real writing job was at 'Rolling Stone,' so I wrote about rock-and-roll and politics and the like. At the time, I really didn't know what I wanted to write, and I did a bunch of investigative journalism.
Guitarists shouldn't get too riled up about all of the great players that were left off of 'Rolling Stone Magazines' list of the Greatest Guitar Players of all Time' ... Rolling Stone is published for people who read the magazine because they don't know what to wear.
I went into journalism in a grandiose way. I thought maybe I'd do a little journalism whilst I write the great novel of all time you see -- one has to keep oneself afloat.
For early plays of mine, I started with character. But I think that's because I hadn't been in theaters; I hadn't worked that much. I'm very interested in character, obviously, but once I started having my plays produced, I became so fascinated by the theatrical experiment and the weirdness of theatrical space, so now all my plays start with space and stage picture and setting - or container is maybe the better way to put it.
I was working as a staff writer at Rolling Stone. I had a friend who worked at MTV, and she called me and said, "They're looking for VJs for this new channel. Do you want to try out?" I had zero TV experience, but I thought, "Well, what the hay."
Once I became number one, I started working even harder. I changed my technique, but injuries started creeping in - it was a big mistake, as I was doing something right to get to that spot in the first place.
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