Dive into the storied past of New York City's emblematic newspaper with "The Book Review," featuring speakers Advertisement, Gilbert Cruz, and Dwight Garner. This episode peels back the pages on The Village Voice, charting its ascent as a flagship of counterculture journalism and its embrace of an alternative editorial aesthetic that challenged the established media discourse. The Village Voice stood out for its critical takes on giants in American media, its pioneering role in off-Broadway theatre, and its pulse on underground music and social currents, earning a distinct place in New York’s cultural landscape.
Exploring the intricacies of oral history in literature and journalism, the speakers unveil how this storytelling method provides a woven multiperspective view of events, demanding a keen editorial direction to meld narratives into a compelling account. They reminisce about influential figures like Wayne Barrett and James Walcott, whose work at The Voice not only defined its legacy but also set a benchmark for investigative and critical journalism. Furthermore, the impact of technological advancements on classifieds and community information dissemination is scrutinized, reflecting on the changing tides of how we engage with local culture—in essence, a microcosm of The Village Voice’s rise and evolution.
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The Village Voice emerges in 1955 by a group including Norman Mailer, serving as the alternative voice to mainstream media in downtown New York City, particularly below 14th Street. It covers a wide range of subjects, from politics to the arts, and sets itself apart with its open style of journalism. The Voice gains a reputation for its critical standpoints against American media giants and pioneers in championing off-Broadway plays, establishing the Obie Awards. Additionally, it features Pulitzer Prize-winning cartoons and delves into the underground music scenes and social movements, capturing the essence of New York City life through its articles and visuals.
Oral history as a journalistic and literary approach is discussed, with its origins credited to Studs Terkel's works on the Great Depression and WWII. The format sees a modern resurgence with George Plimpton's book on Edie Sedgwick. Oral histories are praised for providing a multiperspective view of history, engaging readers to interpret a woven tapestry of narratives. The necessity of a strong editorial hand is emphasized for shaping these narratives into a compelling and coherent format, as illustrated by Gilbert Cruz's experience at Vulture, New York Magazine's culture site.
Wayne Barrett stands out for his groundbreaking investigative reporting on Donald Trump, revealing Trump's business practices in the 1970s and '80s. James Walcott's expertise in criticism, spanning numerous art forms, earns him the title of "critic's critic" and sets a high standard in arts journalism. The work of these writers has not only influenced The Village Voice's legacy but has also laid the groundwork for subsequent investigative and critical endeavors.
With its insightful criticism and coverage, The Village Voice becomes a pivotal platform for the punk rock movement. The publication infuses the cultural landscape with robust content on artists and venues that define punk music. Robert Christgau, as a leading music critic at the Voice, contributes significantly to punk and New Wave genres by bringing sharp critiques and attention to this new wave of sound. Christgau's concise style and graded album reviews resonate with the raw energy of punk, establishing the Voice as a driving force in shaping the genre's public and critical perception.
The Village Voice thrives on classifieds and ad sections, which prove crucial to its economic model by providing a space for apartment rentals, job ads, and cultural listings. However, technological advancements, epitomized by websites like Craigslist, disrupt the traditional revenue streams from these sections, diminishing their role in local culture exchange. This shift signifies the broader transformation affecting alternative weeklies and the way community events and services are communicated and discovered.
1-Page Summary
The Village Voice, co-founded by Norman Mailer in 1955, grew from a geographic focus on downtown New York City to become a leading voice of the counterculture movement.
The Village Voice was established by a group of writers and editors, with Norman Mailer as one of its notable founders. The paper's mission was to serve as a vibrant, alternative voice to mainstream media outlets like The New York Times. Its early history is characterized by an eclectic coverage agenda that spanned the spectrums of politics, culture, and the arts.
Specifically targeting the downtown ethos, the Voice aimed to truly capture the alternative and general culture below 14th Street in New York City—a geographical location that also came to represent a state of mind reflective of the counterculture's core.
The Voice was recognized for its distinct and open style of journalism that set it apart from mainstream publications such as Time Magazine, Newsweek, and The New York Times. Dwight Garner notes a sense of rivalry or tension between The Village Voice and more established media outlets, even suggesting that it was once not proper to talk too much about The Village Voice at The New York Times.
Known for its critical standpoint, The Village Voice often took aim at American media, including The New York Times, through its broad-ranging coverage. It was pioneering in its support for off-Broadway plays and started the Obie Awards, which recognize Off-Broadway and Off- ...
The Village Voice newspaper, its growth into a voice of the counterculture
The podcast delves into the intricacies and applications of oral histories in both digital and print media, discussing their unique attributes and the essential role of editorial oversight.
Dwight Garner brings attention to Studs Terkel, a remarkable figure in the world of oral histories. Terkel's significant works include "Hard Times" about the Great Depression and "The Good War" about World War II. Terkel's approach involved crafting essays from interviews with individuals, allowing them to articulate their experiences in their own words.
The discussion recognizes George Plimpton as a pivotal contributor to the modern resurgence of oral history, particularly with his co-authored book "Edie: American Girl" about socialite and actress Edie Sedgwick. This book became a bestseller and ushered in a renaissance of oral history in American culture. Plimpton’s work is hailed for making the interview a literary form and providing a dynamic sense of reality by letting the reader draw their own conclusions from the multiple perspectives offered.
Oral histories offer a unique vantage point, allowing readers to piece together history through the lens of multiple perspectives. This method provides a rich, polyphonic experience where readers are ...
Oral History as a Format
The Village Voice has been home to a number of influential writers and critics, two of whom stand out for their work in the realms of investigative reporting and cultural criticism.
Wayne Barrett provided pivotal investigative coverage of a young Donald Trump and his business dealings in the 1970s and '80s, long before Trump's ascent to the presidency. Barrett wrote early articles that scrutinized not only Donald but also his father Fred's real estate empire in the outer boroughs of New York City. Barrett was a pioneer, being the first to apply a rigorous investigative reporting approach to the activities of Donald Trump. His persistent efforts laid the groundwork for much of the subsequent reporting on Trump, with many biographies and investigations by other journalists building upon the foundation that Barrett created.
James Walcott has been recognized by his peers as the greatest critic to have come out of The Vill ...
Writers and critics from The Village Voice
The Village Voice played a crucial role in the ascendance of punk rock through incisive criticism and an embrace of the burgeoning scene. Garner reminisces about the pushy and brash covers of the publication, championing artists like Patti Smith and spotlighting venues central to punk's rise, such as CBGB.
Although not explicitly mentioned in this chunk, Robert Christgau's influence as a critical force behind The Village Voice's music coverage is pivotal. He stands as a monumental figure in not only the publication but in rock criticism as a whole.
As the second music editor following Richard Goldstein, Christgau's prose catered to a burgeoning audience that was eager for a new sound. Known as the "Dean of American Rock Critics," his pen wielded significant influence in the music industry.
Christgau’s legacy is marked by his rigorous and succinct critique of music, notably his letter grades for album reviews, which became a famous hallmark of his reviewing style. He was instrumen ...
The Village Voice and the rise of punk rock criticism
The rise of the internet has led to significant changes in how listings and events are disseminated, affecting the traditional economic models of publications like The Village Voice and other alternative weeklies.
Gilbert Cruz details that The Village Voice, in its heyday, brought in reliable revenue through classifieds and advertisement sections. These sections, filled with listings for bands, movie reviews, apartment rentals, and job ads, were not only a cornerstone of the Voice's content but also an essential part of their economic model. Classified ads, in particular, sold the most per line and were so voluminous that the paper often struggled to handle them.
However, the impact and necessity of the alt-weeklies' classifieds and listings faded with technological ...
Listings and events as a cultural clearinghouse
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