A Quote by Nat Hentoff

[Max Askeli] started this very good magazine [The Reporter]. In fact, Meg Greenfield, who's now the editorial page editor of The Washington Post, was one of the star reporters there.
The main jobs would be The New Yorker, The Village Voice, The Washington Post and - I'm thinking of The Reporter when Max Askeli was there, but I got fired from The Reporter.
I was very much against the Vietnam War, and Max Askeli was visiting Lyndon Johnson in the White House cheering him on, writing editorials. And in The Voice one day I once referred to him as Commander Askeli. And I called in to The Reporter to go over the galleys of a music piece I had written, and the editor whispered to me, `It's not gonna run. You're not gonna run. Max Askeli has fired you because of what you said about him.'
I think the editorial page of the Washington Post is the best in the country. I think the editorials - considering it's a liberal town, liberal constituency and from the liberal tradition - I think it's the best editorial page around. It's quite balanced.
In Washington, no one believes anything unless it comes from 'The New Yorker,' 'New York Times' editorial page, or 'The Washington Post.'
Newspapers have been likened to steamships that move very slowly, in terms of their direction. And when a reporter is sent out on a story, if that reporter has his or her own personal standards and is given a certain amount of time, they're going to probably do as good a story yesterday or tomorrow as they did the day before yesterday when there was a different editor there. But an editor provides vision. An editor decides what's going to be on page one, what gets rewarded, who's given more time, who's given what beats. They set a direction.
I admired Eugene McCarthy's courage and although I left his Senate staff after four years to accept a job as the researcher on the editorial page of the 'Washington Post,' I remained an admirer.
I admired Eugene McCarthy’s courage and although I left his Senate staff after four years to accept a job as the researcher on the editorial page of the Washington Post, I remained an admirer.
I felt better about myself that I did it [calling Max Askeli Commander Askeli], rather than have - rather than thinking it and not writing it for being afraid of what might happen to me.
I think I'm a reporter's editor. Being a good reporter is a specific skill, one I admire and don't possess myself - I appreciate people who know how to ask the right questions, who are excellent researchers, who know how to assemble information, and I enjoy working with them to shape their information into an article. Good reporters tend to be receptive to editing, and to a more collaborative form of writing in general, and you always end up learning more from how they work than you expect you will.
Deep Throat was a very unfortunate name given to the source by the managing editor of The Washington Post.
Two opposite and instructive figures in U.S. journalism during the Trump years are Gerard Baker, editor of the Wall Street Journal, and Martin Baron, editor of the Washington Post.
Max Askeli was a very courageous, principled man up to a point. He had left Italy before he was thrown in jail by [Francesco] Mussolini.
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.
My first company produced 'Silicon Alley Reporter' magazine, where I held the dual titles of CEO and Editor.
The editorial board, who endorses candidates, is totally separate from the news side of the business. We don't consult one another. They have one job to do, we have a totally different one to do. So whether the Washington Post editorial board endorses Donald Trump or Hillary Clinton is meaningless to me.
I was editor of my high school literary magazine and a reporter for the school newspaper.
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