Jacob Weisberg Quotes

By the time I came to the States, I really understood how a magazine works. I came to 'Vogue' as creative director, and three years later I went back to London to be editor in chief of British 'Vogue.'

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

I was so passionate about being in the magazine industry, even when I first started at 'Mirabella.'

I think one of the best jobs in the universe must be being the editor of 'The New Yorker', but there are a number of magazines that I'd be excited to be the editor of. They would be 'Wired', 'The New Yorker' and probably, 'Vogue'.

From 1999 through 2001, I was an editor at a now-defunct magazine about the media industry called 'Brill's Content' that eventually merged with a now-defunct website about the media industry called Inside.com.

When I took over 'The New Yorker,' there was a very, very good, smart staff in place.

I have very strong theories about magazine publishing. And I think that it is the most personal form of journalism. And I think that a magazine is an old friend.

I remember the mid-'50s well. It was when my life changed, and I left acting to become one of the first female television news reporters in the U.K.

I actually don't know how magazines are produced, I'll be honest with you. I have no idea.

When I came to 'Gourmet,' I had no clue how to run a magazine; for television, I am fascinated to learn about editing.

My very first magazine cover was the National Enquirer.

I'm impressed with how 'Newsweek's' outstanding staff has continued to put out a lively, well-informed magazine after the departure of their tireless editor, Jon Meacham.

I've been with Life now for seventeen years and I have written several articles for them and will be doing more writing and do at least two assignments a year besides my writing.

There's a curiosity about what magazine editors do, the behind-the-curtain experience.

I thought I was going to be a professor; then I ran screaming from there into magazine journalism.

[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.

I didn't look at it as a transition so much, because I never intended to have a career as a journalist, writing about people who make movies.

I didn't have the ambition to be a broadcaster. I was going to be a newspaper reporter the rest of my life, but that opportunity came along.

I miss particularly the managing editor role on the 'Evening News.'

Over my career, I've reinvented myself numerous times. I covered the Pentagon, the State Department, and the CIA. I wrote about labor wars, trade wars and real wars. I chronicled a nuclear plant meltdown and the defeat of Communism. I co-founded a couple of media businesses.

I had gone to work for 'Newsweek', left 'Newsweek' and went to work for 'Vanity Fair,' and then went back to 'Newsweek'. I came back to 'SI' as a contract writer.

Though I work in broadcasting and host a daily radio show, I got my start in print journalism.

I graduated from the University of North Carolina Chapel Hill with degrees in journalism and Spanish in 2001 and landed my first on-air job in Charlottesville, Va.

As editor-in-chief of the 'Guardian' and the 'Observer', my job is to ensure that our independent journalism continues to be enjoyed by as many readers as possible and that our print newspapers make a positive financial contribution to securing a sustainable future.

I came up in this industry at a time where you had to be a journalist. You had to break stories. You had to break news to elevate your career, to get to a certain point and a certain level in this business, before you even had the license to give your opinion, especially if you were a black man.