A Quote by Nat Hentoff
[William Shawn] took over The Voice and tried to turn it into New York Magazine - very glitzy covers that promised practically nothing in terms of what was inside, very rushed paper anymore. You - not very contemplative, thoughtful or whatever.
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Clay Felker was then - he had - to his credit, he had created New York Magazine, which was the first of the city magazines that covered the city and gave all kinds of advice and all that sort of stuff. And there were copies all over the country by the time he left. He had, however, a view of journalism that was very much, I must say, like Tina Brown's at The New Yorker. You hit 'em hard, fast, give 'em something to talk about the day after the paper comes out, as contrasted with William Shawn, who gave them something to talk about two or three years from then.
If we're having a glitzy over-the-top moment, fashion is very glitzy and over-the-top, you know, over-the-top. If we're having a moment where things are, you know, we're in a recession, fashion becomes quiet. So, in terms of popular culture, fashion and especially women's fashion is incredibly interesting, aside from satisfying just a particular need to create and arrange things in a way that one sees as beautiful. And so, in a certain way, it's fulfilling. In another way, it's very fleeting because it doesn't last very long. You know, a beautiful moment in fashion goes away very quickly.
Yeah, the New York Times is very intellectual and very, very prestigious, but it doesn't reach the market that People magazine does.
Yeah, the New York Times is very intellectual and very, very prestigious, but it doesn't reach the market that People magazine does
After [Bill Shawn] was fired, I was going to the YMHA [Young Men's Hebrew Association] on the Upper East Side to do a talk on free speech.I went into a coffee shop to get a piece of pie and a coffee, and I was reading a paper and I hear a voice. And it was -it was not a voice I was familiar with, but I looked across the table and I saw Lilian Ross.And sitting next to her was William Shawn - no tie, needed a shave. His voice was kind of coarse and rather loud. He wasn't drunk, but I was just stunned.
Link is a quiet man to meet- easy and courteous. His music, though, betrays that deep inside he gets very very mean very often. I remember being made very uneasy the first time I heard Rumble , and yet very excited by the guitar sound. And his voice! He sounds like a cross between Jagger and Van Morrison, even sometimes like Robbie Robertson. We met him in New York in 1970 while recording Who's Next.... this later inspired the b-side Wasp Man, a tune we dedicated to Link Wray.
I think the men in L.A. are very rugged, good-looking. Men in New York look metro with their manis and pedis and their Bruno Magli loafers, but inside they're very masculine - aside from the Meatpacking District. The problem is the men in New York are five to one: five women to one man.
William Shawn was the editor of The New Yorker and for whom I worked for, God, 27 years; a man I respected enormously because of what he did, - what the magazine was about.
Well the thing is that the New York of 1846 to 1862 was very different from downtown New York now. Really nothing from that period still exists in New York.
I came over here with $100; it was 1983 and I just ended up staying. New York at that time was very inexpensive and it was very easy to get a job. We lived on Staten Island and you could get cheap rent. It was a good time to be in New York.
Coming to terms with the fact that my marriage was a failure was devastating and very difficult. I blamed myself for a lot of things. It took me a very long time to get over it.
I suppose I've been very fortunate in terms of my longevity and my voice and the way it has held up over the years. I hope to be able to keep on doing what I'm doing until I can't do it anymore.
When I took over 'The New Yorker,' there was a very, very good, smart staff in place.
I told [a big investor in The New Yorker] - I was complaining the way writers complain.I said`[Bill Shawn] pays very well, but a lot of my pieces don't get in,' and that was true of most of the writers there.But he pays you for them, that was very nice of him. This guy didn't think it was very nice. He figured, `Oh, my God, that's more of my investment gone,' and paying money to writers for not printing them. That became, apparently, one of his weapons against Shawn when he - in the corporate skirmishes that went on. It was a bad mistake on my part.
People who have grown up in a world where this was not a concern and suddenly start hearing about climate change - it's very difficult. It's a very, very abstract concept. So we need to work on making it very educational and very, very clear, in very simple terms.
I hear you guys all the time talking about Daniel Bryan, trained by Shawn Michaels. One curious thing to me is, how come you guys never mention William Regal? William Regal did the real work with this young man. Shawn Michaels took $3,000 from him, that's all he ever did.
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