When the Servicemen’s Readjustment Act of 1944-the G.I. Intellectually and creatively, the center of the postwar Village was the New School. The Voice appeared around the time of the Beat writers, who were followed by the folkies, but the paper’s sensibility took shape earlier, in the period right after the Second World War. The cultural history of the Village is a Slinky on a staircase: it seems to flip over every three years or so. But the voice of the Villager was a prewar voice, and the voice of the Voice was distinctly postwar. The Villager promoted itself as “Reflecting the Treasured Traditions of This Cherished Community”-which is a reminder that there has always been an upscale Village that has more in common with the Upper East Side than it does with Avenue A.
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The Villager, which had been founded in 1933, was distributed free to twenty-seven thousand readers. The Voice was not the first local paper in Greenwich Village. The Voice changed journalism, because it changed the idea of what it was to be a journalist. Still, its prosperity may have obscured its originality. The quality of the Voice’s editorial content has varied, but it was never just a shopper. But a paper that is more than two-thirds advertising starts to look like what is known in the industry as a “shopper”-a free publication that people pick up for the ads, and that no one really reads, a paper that has editorial content mainly for the purpose of self-respect. The typical issue was eighty pages two-thirds of the book was advertising.Īdvertising may seem to fall into the same category as richness, thinness, and approval, one of the things you can never have too much of. In 1968, the paper ran 1.7 million lines of display ads and four hundred and sixty thousand lines of classifieds-twelve hundred individual advertisements every week. But, when it hit the black, it got very fat very quickly. Between 19, it lost nearly sixty thousand dollars the combined salaries of its editor and its publisher, for that entire period, was eighteen thousand dollars. The Voice was, from the start, a for-profit venture. But, in books about the modern press, it is given a smaller role than it deserves. It survived the deaths of four other New York City newspapers and most of its imitators, and it has had a longer life than the weekly Life. By 1967, it was the best-selling weekly newspaper in the United States, with a single-day circulation higher than the circulations of ninety-five per cent of American big-city dailies. It began as a neighborhood paper serving an area about a tenth the size of the Left Bank, in Paris, and it became, within ten years, a nationally known brand and the inspiration for a dozen other local papers across the country. It is one of the most successful enterprises in the history of American journalism. My dad got lucky for 50 years in a row, as he would say.The Village Voice was founded in 1955. But in those days it was a small community, and The Voice was the neighborhood paper. If you look at the names of all these then-unknowns from the MoMa show, it’s an insane list of people who are now cultural icons. My dad knew it was important and he wanted to document it for people who were not as lucky as him to see this. A bunch of freaks from below 14 Street, that wasn’t going to be in the Times! The Voice was covering all of these people with dignity and respect. “In the 1950s, culture for the New York Times was Carnegie Hall, Lincoln Center, and the Metropolitan Opera House. The show documents one of the most creative experiences and groups of people ever, but only three people have pictures in it because no one was paying attention to it. The pastors saw there were all these people like Twyla Tharp, Lucinda Childs, Claes Oldenberg, and Jim Dine doing things and they needed a space to do it. space in the basement of the Judson Church on Washington Square South.
There is a new exhibition that just opened at the MoMA on the Judson Dance Theater, an alternative performance D.I.Y. “The main way he did that was by showing up and paying attention.
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