SoHo Weekly News

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SoHo Weekly News
Cover page from November 1980, with the Soho News masthead. Banner text reads Hollywood Gamor: Sex Without Laughs / I'm Singin' in the Mudd / Laurie Anderson: Performance Genius.
Soho News, November 5–11 1980
TypeAlternative weekly
FounderMichael Goldstein
FoundedOctober 11, 1973
Ceased publication
March 10, 1982
LanguageEnglish
CityNew York City

The SoHo Weekly News (SWN) was a weekly alternative newspaper founded by music publicist Michael Goldstein and published in New York City from 1973 to 1982. Positioned as a competitor to The Village Voice, it struggled financially. The paper was purchased by Associated Newspaper Group in 1979 and shut down three years later when they were unable to make it profitable.

The paper was known for its coverage of Manhattan's SoHo neighborhood, which was just starting to become fashionable. Although the official editorial stance was anti-gentrification, one retrospective argued that its coverage of local culture and business actually contributed to the upward trend in property values. Coverage of emerging music acts in local venues was particularly strong, including being one of the first papers to interview the punk rock band the Ramones.

Many staff had distinguished careers after the paper shut down. Annie Flanders founded Details magazine. Kim Hastreiter and David Hershkovits started Paper. Bill Cunningham spent many decades as a photojournalist for The New York Times, Allan Tannenbaum became known for his coverage of rock musicians, and Bruce Weber got his start photographing male fashion models with an influential SWN photo story showing an underwear-clad male model in erotic poses.

Startup and operation

SWN office at 111 Spring Street within SoHo

The SoHo Weekly News (SWN) was an alternative newspaper published in New York City from 1973 to 1982.[1] The paper was founded by Michael Goldstein, who put out the first issue on October 11, 1973, using the last $800 of his savings.[2][3] Initially published in 8 pages, it grew to over 100 pages and positioned itself as a competitor to established alternative newsweekly The Village Voice.[2] In SoHo: The Rise and Fall of an Artists' Colony, Richard Kostelanetz asserted that SWN "was founded ... in part to exploit the success of the Voice, with a similar size and similarly weekly publication schedule".[4] The paper's offices were at 111 Spring Street, in the SoHo neighborhood of Manhattan, although the earliest issues were produced out of Goldstein's apartment on nearby Broome Street.[2][3]

In January 1976, Goldstein told The New York Times that SWN was the second largest English-language weekly in the city, positioned as a direct competitor to The Village Voice, and sold at 400 newsstands with a circulation of about 28,000. He described the intended audience as 22-to-35 years old: people who had come of age attending rock concerts in the 1960s. He conceded, however, that his market research consisted of seeing who was buying the paper at newsstands.[3]

In contrast, Hank Weintraub, vice president of advertising agency DienerHauser-Greenthal, stated that the paper's circulation and effectiveness were unproven, that it had not shown itself to be as much competition to The Village Voice as its management claimed, and that he would only place ads there when specifically requested by clients. Stephen M. Blacker, associate publisher of The Village Voice, saw a need for more newspapers but didn't regard SWN as a serious competitor.[3]

In a 2020 interview, fashion editor Kim Hastreiter spoke with Paper magazine editor Mickey Boardman and described the impact SWN had:[5]

... there was this newspaper, called the Soho News, that was downtown. It was like our bible. Every Wednesday morning, it would come out and that's what you did. You bought it and looked through everything. It had a calendar that told you every club, every party, every art opening, every opening of anything, every concert. You planned your whole week from it.

Editorial stance on gentrification

The paper was an outspoken critic of the commercialization and gentrification of SoHo, the neighborhood where it was located and concentrated its coverage. In a 2003 review of the revitalization of the SoHo neighborhood, however, Stephen Petrus (then a doctoral candidate in history) offered a different opinion. He argued that despite taking an editorial stance opposing gentrification, SWN actually promoted it by enthusiastically covering trendy local businesses, eschewing a role as neighborhood watchdog in favor of competing directly with The Village Voice. Petrus gave as an example a two-part 1973 series which explored more than two dozen SoHo retail establishments, run during the holiday season. Petrus also said their classified ads for loft space helped drive up rents, pricing artists and other renters without long-term leases out of the area.[6]

In 1974, SWN inaugurated a Loft of the Week feature which highlighted opulent residences. The first installment covered the home of fashion designer Valerie Porr, which was described as "[one of the] most fascinating spaces in SoHo".[7]: 174  The paper touted the advantages of converted lofts, writing, "Living in a loft gives you a whole new dimension in space and space relationships to work with"[7]: 178  SWN writer Jim Stratton took a contrary stance. In response to a 1974 piece in New York Magazine which called SoHo "The Most Exciting Place to Live in the City", he lamented the influx of wealthy people who could "buy a loft in SoHo and send an artist to Brooklyn" and that when people came to artists' lofts, they were coming more to look at the real estate than the artwork.[7]: 179 

Staff

Text reads: Police Department / City of New York / Working Press / Michael Goldstein / The Soho Weekly News / is entitled to pass police and fire lines whereever formed / not for parking purposes
New York City press credentials issued to Michael Goldstein

Many SWN staff, 80 percent of whom were freelance in 1976, had notable careers before or after their association with the paper.[3] The editorial team was led by founder Michael Goldstein who previously had been a successful music publicist. Among his clients were Jimi Hendrix, Frank Zappa, and the Grateful Dead; 17 of the acts he represented were eventually inducted into the Rock & Roll Hall of Fame.[2][8][9]

Gerald Marzorati, editor of SWN's Artful Dodger column, was reportedly the first journalist to write a major story about graphic artist Keith Haring.[10] Dramaturgy scholar Elinor Fuchs contributed as a freelancer.[11] John Perreault was senior art critic from 1975 to 1982, earning a 1979 fellowship in art criticism from the National Endowment for the Arts.[12] Edward Gorey wrote movie reviews under the byline Wardore Edgy; in a 1991 interview, he said that if The Village Voice was Off-Broadway, then SWN was Off-Off-Broadway.[13] Joan La Barbara reviewed lesser-known jazz and experimental musicians from 1974 to 1975.[14]

Richard Kostelanetz contrasted the residency of the staffs at The Village Voice with SWN, noting that the Voice had been founded by people who lived in Greenwich Village with the goal of providing fellow residents community news. By contrast, Kostelanetz considered Goldstein to be an outsider and that despite having its offices in SoHo, most of SWN's editors (and, he believed, most of its writers) did not live in the neighborhood.[4]

Follow-ons

Annie Flanders had been the fashion editor;[15] very shortly after SWN closed, she organized a meeting of ex-staffers including Ronnie Cooke, Stephen Saban, Lesley Vinson, Megan Haungs, and Bill Cunningham to found Details magazine which ran from 1982 to 2015.[16][17] Kim Hastreiter succeeded Flanders as fashion editor; she and news reporter David Hershkovits went on to found Paper magazine.[18] Marzorati went on to work at The New Yorker, Harper's Magazine, and eventually The New York Times, where he edited The New York Times Magazine.[19] Staffers Margo Jefferson (theatre critic) and Tim Page (classical music editor) both went on to win Pulitzer Prizes at other publications.[20][21]

In a 1985 review, publisher Bonnie Marranca wrote of her efforts in 1975 to get Performing Arts Journal started. At the time, she was writing for SWN, which she described as "renegade" and "a fledgling publication, with no pretense to paying writers". She had lined up printing services but was facing the even larger expense of typesetting; SWN's publisher (unnamed but presumably Goldstein) knew of Marranca's plans and offered to provide her typesetting services for the first three issues at no cost in exchange for another year of her writing for free, which she accepted.[22] Marranca again wrote about SWN in 1995, reflecting on her experiences as a theatre critic there during 1975 – 1977. She described the paper as "one of the respected, opinion-shaping newspapers at that time, featuring extensive coverage of the burgeoning downtown arts scene".[23]

Photography

photograph
Bruce Weber in 2024

The photography staff included Allan Tannenbaum, Timothy Greenfield-Sanders, Bruce Weber, Bill Cunningham, and Marcia Resnick. Cunningham did a style feature, Bill Cunningham's Sunday, having been recruited by Annie Flanders.[10][16] He then went on to a long career at The New York Times as a photojournalist, producing his famous On the Street and Evening Hours columns.[24] Tannenbaum was known for his coverage of rock music, having photographed David Bowie, John Lennon and Yoko Ono, and the Rolling Stones.[25] Greenfield-Sanders has work on display at the Museum of Modern Art[26] and the National Portrait Gallery,[27] and was featured in American Master: The Boomer List on PBS.[28] Resnick's portraits of well-known people ran regularly.[29] She also produced a photo-satire column, pairing mysterious photos with inventive stories; originally titled "Resnick’s Believe-it-or-Not", it was renamed to "Resnick’s Believe It" after a complaint from Ripley's Believe It or Not!.[30][31]

Bruce Weber's controversial 1978 series of photos featuring model Jeff Aquilon clad only in high-priced underwear from Saks Fifth Avenue was described in The New York Times as "flagrantly erotic" by Herbert Muschamp[32] and having "become legend" by John Duka.[33] Katya Foreman of the BBC labeled it as "iconic ... [defining] a new ideal for male models".[34] The 2020 independent film Rise of the Male Supermodel described the story as "an intimate portrayal of a young athletic man", saying that "the male form as a sexualized object was historically the focus of gay porn, not mass media" but that Weber had "[legitimized] the notion for the mainstream". After the piece ran, Saks cancelled their advertising due to the erotic nature of the photos; this announcement was greeted with a round of applause from the staff because, as SWN fashion director Paul Cavaco put it, "it was all about, at that moment, how far can we push things, how far can we go against the norm of what fashion is supposed to be, of what people think of male models, of what male beauty is, of what is acceptable for men to show."[35]

Music and arts coverage

Punk scene

Street view of storefront with doors in the center flanked by windows on both sides. A white awning says "CBGB" in large red letters in a decorative font, and "OMFUG" below that in the same style.
CBGB in 2005

SWN was known for its coverage of new musical artists in downtown New York. In an interview shortly after Goldstein's death, SWN music editor Peter Occhiogrosso credited Goldstein's experience with New York's music and nightclub scene below 14th Street and particularly below Houston Street for driving SWN's music focus and for its ability to differentiate itself from The Village Voice.[2] Author Richard Boch described how many of the SWN staff would frequent the nearby Mudd Club each night, recalling that Goldstein often went dressed in a brass-button navy blazer, "looking like a country club admiral".[36] In a 2020 interview, Kim Hastreiter spoke about her experiences at SWN:[5]

It was totally wild west at [the Soho News]. You got there [at] one in the afternoon. You didn't have to go to work till then because everyone was up all night at the clubs. You had to go to the Mudd Club to find the art director and then drag her back to the office at two in the morning to do your layouts. It was crazy there. We had a drug dealer that would come to the office. Everyone was smoking pot.

In 1975, SWN was one of the first papers to interview the Ramones.[37] In his book Between Montmartre and the Mudd Club, Bernard Gendron wrote about the music scene at CBGB; he described the club as "an altogether unlikely site for a major cultural movement", noting that it filled a void after the nearby Mercer Art Center was destroyed in a building collapse.[38][39] CBGB hosted new bands such as Television, the Ramones, and Blondie, but the venue was largely ignored by The Village Voice and The New York Times, relying instead on coverage from the alternative press: SWN early on, followed by the fanzines Punk and New York Rocker.[39] In 1978, SWN ran an interview with Talking Heads.[40] In their Video Lounge exhibit, the Museum of the City of New York explored the paper's leading role in covering the New York music scene, comparing its coverage most directly to the East Village Eye and more distantly to The Village Voice and New York Rocker.[41]

Other areas

In 2002, dance critic Elizabeth Zimmer wrote that the dance boom of the mid 1960s was followed by increased opportunities for young dance critics in New York, with The Village Voice and SWN being the two main publications providing space for their work.[42] The SWN arts coverage ranged from local talent to mainstream; one article on dance included a performance in a Mercer Street loft alongside one at the Metropolitan Opera House by the American Ballet Theatre.[7]: 126 

SWN was one of the first papers to cover David Lynch's surrealist film Eraserhead. Village Voice film critic J. Hoberman wrote in a 2013 retrospective that the Voice and SWN were the only two papers to cover the film's 1977 debut. He compared the two papers' approaches: his piece in the Voice was just two paragraphs tacked on the end of another review he was already working on, while rival SWN ran an interview with Lynch.[43] Film critic Jerry Oster lamented in his 1977 coverage of the New Directors/New Films Festival that The New York Times gave it minimal attention, and The Village Voice and The New Yorker none at all: "The most comprehensive coverage of the program was ceded to the scrappy irregulars of The SoHo Weekly News".[44]

SWN was known for its coverage of local artists struggling to make a name for themselves. In a 2018 interview at the Museum of Modern Art, lyricist Scott Wittman told of the influence SWN had on promoting the acts of rising performers: "There was only one newspaper back then ... The SoHo Weekly News". He recounted his experience doing a show with Marc Shaiman at Club 57 in the East Village; after the SWN published an enthusiastically positive review, the next week's performance was "packed with people like Jay Presson Allen, Mike Nichols, Joe Papp, and Allan Carr".[45]: time index 23:30  In 1999, Gary Indiana wrote in Artforum:[46]

There were plenty of artists of all types living there before this little boom thing in the mid-'80s. Most of the ones I knew never expected to have any type of commercial success. The biggest thing that ever happened to them was a mention in The Village Voice or the Soho Weekly News.

Coverage of Nancy Spungen murder

Interviewed c. 2025 for Room 100: Sid, Nancy, and the Night Punk Rock Died, Ann Bardach told of her start in journalism. She had landed a position at The New York Times but the 1978 New York City newspaper strike put her out of work after writing a single story. She decided to frequent the New York City morgue where she became friendly with the staff and was introduced to the chief medical examiner, Michael Baden, who reportedly allowed her free access to the autopsy room (although Baden disputed this).[47]

One night, a woman's body was delivered who, Bardach recalled, everybody assumed was a prostitute. Bardach, however, said she recognized the woman from the Mudd Club and exclaimed, "Holy shit – that's Nancy Spungen!" although none of the people there recognized the name, nor that of punk rocker Sid Vicious, whose girlfriend she was. Baden also disputed this part of the story, saying that they had been informed by the police of the impending arrival of Spungen. Regardless of which version of the story was correct, Bardach wrote a series of articles about Spungen's murder which were published by SWN. Author Jesse Pollack described the stories as "among the earliest and most influential pieces of journalism on the crime, [playing] an important role in shaping public understanding of it as well as the historical record". Bardach said she pitched the story to SWN because of how it covered the punk scene: "They recognized that it was a big deal".[48][47]

Henry Benvenuti incident

On November 26, 1979, 27-year-old graphic artist Henry "Banger" Benvenuti walked into the SWN office and asked to see Gerald Marzorati.[49] Benvenuti had reportedly spoken to Marzorati earlier in the day by telephone; Marzorati had said he was too busy to speak, to which Benvenuti replied "You're just like all the other art writers".[50] After being told he could not see Marzorati, Benvenuti took out a hatchet, said "I'm doing this in the name of art," chopped off two of his fingers, and walked out. Doctors at Bellevue Hospital were unable to reattach the fingers.[49]

Benvenuti, who was struggling financially, was connected to the SoHo punk scene: his art was displayed at the Mudd Club and his photograph hung on the wall.[51][52] Interviewed at Bellevue, he expressed disappointment at the lack of attention his exhibition at a SoHo gallery had received a year earlier. He described his one-man show as "the first punk new wave art exhibit in New York", saying that it didn't receive any serious reviews from the media and that his self-mutilation at the SWN office was "to protest the plight of starving artists".[51] Paul Richard of The Washington Post likened Benvenuti's actions to incidents of self-harm by other artists, most notably Van Gogh's cutting off his own ear.[49]

Decline and shutdown

Stock certificate issued to Allan Wolper for one share of The Soho Weekly News, Inc.
SoHo Weekly News stock certificate

The paper's circulation was variable, at one point dipping as low as 14,000.[53] In May 1978, the English Associated Newspaper Group (ANG), led by Vere Harmsworth, took a 25% share in SWN. Reportedly, this was in response to Rupert Murdoch (with whom Harmsworth had been feuding) having bought The Village Voice the previous year. A year later, Goldstein stated that the paper had an annual revenue of $1.1 million and their circulation was 60,000; it was reported, however, that the paper was losing money.[54] ANG bought out the remaining stake in 1979 and named John Leese as publisher and editor in chief.[10]

In the fall of 1981, ANG announced plans to close or sell the paper by February 1982. Although there were negotiations with possible purchasers which continued beyond the original deadline, ongoing losses ($1.7 million in the previous year) forced ANG to shut down the paper in March.[53] The closing was despite an increase in circulation in the last year, variously reported as either 12 to 15 percent or almost doubled.[55][56] The last issue, dated March 10–16, 1982, had a print run of 40,000 copies, carried a cover price of $0.75[56][57] and featured a front-page story about actor John Belushi.[53] The next issue was in production at the time the paper was officially shut down but never reached the newsstands.[53] At the time of the shutdown, the staff numbered about 70 people, of which 25 were full-time reporters and editors.[58] The shutdown of SWN left ANG with interests in two other American publications: The American Lawyer and Esquire magazine.[59]

Final decision

The unionization of the paper in its last year of operation was a factor in the ultimate decision to close; in response to voting in the union, ANG instructed Leese to either shut down or sell the paper, which in turn impacted staff morale.[56] Leese said the paper had lost $2 million in the previous year on operations with no prospects of making the paper profitable. Despite growing circulation, the paper needed to increase advertising by six pages per issue, which the owners did not believe was possible. Another spokesman put the total losses at $6 million.[58]

According to Leese, attempts to sell the paper had been unsuccessful, even at a price he described as "nominal".[59] In contrast to most descriptions of the paper, he said that SWN did not consider itself an alternative newspaper, and that it appealed to a young and affluent audience. Comparing SWN to the older Voice, he said it "had a virtual monopoly of classified (advertising) for a weekly publication. ... If you want an apartment, The Voice is the paper to look at. It's very difficult to compete with that kind of stranglehold".[60]

Also contributing to the downfall was a pending lawsuit by essayist Susan Sontag. On February 6, 1982, Sontag gave a speech critical of communism at The Town Hall. Later that month, SWN published Sontag's comments[61] (as did The Nation).[62] This coverage proved popular with SWN's readership but also prompted Sontag to file a $50,000 lawsuit against the paper for copyright infringement.[61] Sontag said she would have preferred the speech to be printed in The New York Times, but the Times declined to do so once the speech appeared in, as she put it, "the dreadful Soho News".[63]

Reaction

In a 2020 interview, Kim Hastreiter described ANG as "these stupid people in England, who didn't know anything", saying, "All of a sudden, it was shut down and I didn't have a job."[5] The final decision to fold the paper was made at noon and the newsroom staff were informed by Leese at 4 pm with instructions to clean out their desks immediately. Senior editor Eve Ottenberg said, "I don't think anybody burst into tears ... People were just kind of tired. They sort of expected it, but some of the people were angry".[64]

In a 1996 interview on Berks Community Television, William Zimmer spoke of his experiences as the second art critic at SWN, succeeding John Perreault. He said SWN was "a little before its time" and that it would have been more successful if it could have survived for a few more years, the 1980s being "the golden decade for SoHo". He lamented that ANG, with their investments in North Sea oil under financial pressure from falling prices, shut the paper down so suddenly: he said the order came at 2 o'clock on a Tuesday afternoon and the staff were not even permitted to finish work on the issue due to come out the next day.[65]: time index 6:04 

After SWN closed down, Zimmer wrote for The New York Times as art critic for their suburban sections. He described how SWN differed from the Times:[65]: time index 7:09 

You were writing for a hip audience ... it was like being a little bit of a mini-celebrity: you could walk down the street after having written something and people would congratulate you, or argue with you, or something: You were noticed.

The day after the shutdown, The New York Times said SWN had been "a weekly journal of counter-cultural news and opinion for New York City".[58] In an op-ed a few days later, Tim Page called SWN the "alternative to alternative papers", describing it as "a most interesting little paper: breezy, intelligent, witty, joyously Epicurean, wildly uneven". The paper's contributors were described as an eccentric mix of "neo-conservatives and Marxists, radical feminists and hedonistic libertines, chronic potheads and antidrug crusaders". Page described the poor physical condition of paper's office: too hot in the summer, too cold in the winter, having a serious rat infestation problem, and stocked with office equipment that didn't always work.[66]

A 2018 retrospective in The New York Times Style Magazine included the closure of SWN as one of the "events that transformed the city over three extraordinary years"; Jennifer Conrad wrote that "Alternative paper The Soho News [was] for eight and a half years the chronicler of the burgeoning downtown arts scene".[67] In 2023, The New York Times said that SWN's greatest success was in the 1970s and its demise in 1982 gave Leonard Abrams's East Village Eye the opportunity to take its place writing about many of the same topics: the destructive influence of crack cocaine, the onslaught of the AIDS epidemic, and the continuing gentrification of SoHo.[68]

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Further reading