A Quote by Kenneth Koch

Some of the French surrealists at the beginning of the war had come over to New York and they brought out this magazine. It was a big, glossy magazine full of surrealist things.
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 read a magazine called 'Cinefantastique' that had just come out with a making of 'Star Wars' issue. They had some very long and detailed interviews with a whole bunch of people at ILM. I think I memorized that whole magazine.
At an early age I discovered the beauty in pictures in 'Vogue' magazine and Ebony magazine, and I would read 'The New York Times.' I had to make my own world within my world because I was an only child.
It's over. The franchise is dead. The press killed it. Your magazine f**king killed it. New York Magazine. It's like all the critics got together and said, 'This franchise must die.' Because they all had the exact same review. It's like they didn't see the movie. Got any more gum?
I appreciate that the New York Daily News will show dead bodies but blur the cover of a French parody magazine. Just out of respect, right guys?
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.
The biggest stress for me at New York Magazine was when I was a middle-of-the-pack editor, and I had no control over my own schedule.
Feeling is taboo, especially in New York. I read in some little magazine the other day that The New Yorker and The New York Times were sclerotic, meaning, "completely turned to rock." The critics here are that way.
I had started out my grown-up life in New York City, but I couldn't figure out how to be an actor there. And so I had been a magazine illustrator instead.
Online, you have things like Slate Magazine, which has a lot of commentary and analysis of stories, so it gives you a fuller picture. I would compare that to a news magazine or the New Republic.
I got an offer at 'Vogue.' And I desperately wanted to work in magazines. My interest wasn't in fashion, but when you get an offer right out of college for a magazine that big - I decided that it was probably better to start at a big name magazine, even if I wasn't necessarily fascinated with the subject.
I produced some very good work at 'New York' 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.
In the past, you'd have one magazine, it would arrive monthly, and that was your magazine. You'd devour it; you'd absorb all the knowledge in it; you'd read it over and over again.
I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called 'Film Culture.'
I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called Film Culture.
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