![]() ![]() “The Voice may be bigger than print and ink or any owner, editor, medium, or era, but this paper belonged to New York, and the people who have worked for it have served both the Voice and the city in exemplary fashion. He knew that he was the eye of The Village Voice, and covered anything from a Beat Generation cocktail party and the Stonewall uprising to the art scene. New Yorkers may have noticed something strange in the last few days: copies of The Village Voice, fresh off the press and still free, on newsstands and in street boxes. Fred McDarrah was an incredible early influence on the paper as a photographer and editor. Editor Stephen Mooallem said the roughly 500,000 pages of Voice archives would remain for the time-being “a state-of-the-art analog experience. The Voice had much more engaged photojournalismbeing on the scene, being very present. What happens next for the Village Voice could represent a bellwether for the rest of the publishing industry looking toward an all-digital future. “So enough with the eulogies for Rolling Stone and the Village Voice, two relics demolished not by the internet but their own narcissistic, congenital nostalgia,” Callahan crowed. While many mourn the Voice’s physical passing, others have been less charitable.Ĭontrarian New York Post columnist Maureen Callahan wrote that the changes at the Voice and the sale of Rolling Stone meant post-war baby boomers were finally releasing their “chokehold on American culture”. The images include the infamous denizens of the downtown realm – William Burroughs (with sword), the Beastie Boys, Madonna, Jack Kerouac – while cartoonist Steve Brodner reminisced: “This is journalism – authentic, fearless, two-fisted, pure.” In the final edition, a photo section celebrated the photographers and writers who “looked out at the rest of the world from south of 14th Street”. In severing the Voice from its physical existence, owner and publisher Peter Barbey said the 62-year old print publication had been “a public forum for ideas and a cultural touchstone for the progressive thought and envelope-pushing aesthetics that defined New York”. Michael Musto, the longtime nightlife columnist, marked the occasion with a return of his “La Dulce Musto” column.īy mid-morning on Thursday, many of the publication’s distinctive red distribution boxes were empty, copies collected up by souvenir hunters. The 176-page issue features a 50-page portfolio of journalistic luminaries who helped define the publication, including Voice co-founder Ed Fancher, theater critic Michael Feingold and film critics J Hoberman and Amy Taubin. Photographed in a salute, the image of Dylan was taken in January 1965, near the old offices of the Voice. ![]()
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