Quotes of All Topics . Occasions . Authors
I remember I took an editorial, and I was so excited. I got the pictures back, and I looked in the magazine, and I was like, 'Oh my gosh!' My arms were half their size, and I had a thigh gap magically, and all these crazy things. My family went out and tried to find my pictures in the magazines, but no one could recognize me.
As with many teens, my first jobs included babysitting and mopping floors at McDonald's. Since then, I've held jobs a diverse as selling used cars, selling apparel, cosmetics, and real-estate, substitute-teaching six graders, teaching undergraduate creative writing, and working as an editorial assistant for a literary magazine.
I really do think we're going through a period of concentration of ownership of media, and we're starting to see the effects at the editorial level, and it's all bad. This increased pressure for profits every quarter, smaller news hole, less coverage of important stuff - the extent that it's become one giant infotainment industry.
I moved to London when I was 21 and I needed a job. I'd just done a year working in Waterstones in Manchester and I was looking for any old job. This advertisement came up for an editorial assistant on Dora the Explorer Magazine. Because I'd been working in the Children's Department in a bookshop for a year I just nailed the interview.
I get kind of sad when I look at all of my magazines and think about how at one time I was much more impressed with a certain fashion editorial, or how I feel like I can't really relate to being that excited about fashion anymore. Maybe it's being jaded, but I honestly like that now, when something's really good, I feel more affected by it.
I joke that I've always had this sort of insatiable 'big sis' complex - which is odd given that I am the baby of the family with no sisters! It's the reason I have such a powerful desire to connect with girls and encourage them. So, it's a natural fit for me to have a job that's like the editorial version of an older sister to a million girls.
When you receive national recognition for leading the nation's toughest crackdown on illegal immigration and serving as Donald Trump's Virginia State Chairman, you get used to being falsely labeled as racist and xenophobic by the mainstream media, especially by 'The Washington Post''s editorial board, which has labeled me as such things for years.
I was going to be a storybook illustrator or an editorial illustrator. I ended up in a comics class by mistake because all the others were full, so I was like 'I'll stay for one class, and then I'll go take something else, because I don't care about comics.' I got pulled in really fast; I discovered I had a voice in comics that I didn't know I had.
Animated editorial cartoons are completely different from static editorial cartoons.
Back in the day I was doing runway, editorial, advertising, spokesmodeling, and public appearances. Those are five different categories.
The big thing in favor of doing an editorial on the front page is that it would be a powerful signal of how concerned we are about guns.
I have no idea what readership is of written editorials, but it doesn't come anywhere close to the readership of editorial cartoons.
Orrin Hatch was the keynote speaker at the last meeting of the Association of American Editorial Cartoonists. He sought me out because he was a fan. I was thinking he had confused me with someone else.
It used to be that what was going to be written on my tombstone was 'Benjamin Wittes, former 'Washington Post' editorial writer,' or 'Benjamin Wittes, who wasn't even a lawyer.' Now it's just, like, 'Benjamin Wittes, who's a friend of Jim Comey's.'
The wisdom of the crowds has peaked. Web 3.0 is taking what we've built in Web 2.0 - the wisdom of the crowds - and putting an editorial layer on it of truly talented, compensated people to make the product more trusted and refined.
Editorial cartoons are about concept. The illustration is merely a vehicle to convey a point of view. We're here to protect and inform the public, to attack and repel those who do not agree with our long-term shared interest.
As an editorial cartoonist now, I live for those moments of inspiration, and it is exhilarating to be inspired by a topic, have an opinion on the topic, come up with a good cartoon on the topic, and to draw it and get it in the paper the next day. That is what I live for.
One thing I can say right off the bat is that creating great editorial is a huge challenge, and you can't help but go through the process and not appreciate how valuable this skill is, and how much I admire the people who do this every day.
We exercise great caution in airing an audio- or videotape released by a terrorist organization holding a hostage. These are decisions made by CNN's editorial staff and not by any third party.
I made it clear when the Barclays took over the 'Telegraph' that I wanted no editorial position there. There is no way I could take a high-level editorial position at the papers. I have my work for the BBC, and that would be compromised if I did.
I don't give you editorial control. I want to meet you. I want to interview everybody who's ever known you. I want to see your correspondence. I want to see your bank statements. But you will have no control over what I write. That's why I really believe in the unauthorized biography.
And the big issue here, I think, is that the publisher took over the editorial pages, a guy named Jeff Johnson. He's an accountant from Chicago, doesn't know anything about what newspapers are supposed to be about, and he made a decision to get rid of the column.
I knew I wanted to be a journalist ever since I was a teenager. While it is interesting and gratifying to be on the business side and to see how that all works, the main reason I kept a business role here was to protect the editorial integrity of Salon.
I first met Susan Sontag in spring 1976 when she was recovering from cancer surgery and needed someone to help type her correspondence. I had been recommended by the editors of 'The New York Review of Books,' where I'd worked as an editorial assistant.
Some people call it the 'Al Jazeera spirit' - courage, re-thinking authority, giving a voice to the voiceless. We have never been favored by the authority. The human being is the center of our editorial policy. We are not a TV station that rushes after stars, big names, press conferences, hand-shake journalism.
I still do the standard editorial cartoon: that is my bread and butter. I absolutely love doing that.
The editorial page is where you'll find our opinions, while the letters columns and the space for Op-Ed contributors are a forum for debate and discussion.
There is too much illustrating of the news these days. I look at many editorial cartoons and I don't know what the cartoonists are saying or how they feel about a certain issue.
Editorial cartoons should be smart and substantive, provocative and informative. They should stir passions and deep emotions. Editorial cartoons should be the catalyst for thought, and frankly speaking, if you can make politicians think, that is an accomplishment itself.
When I first started as an editorial cartoonist, I was terrified on a daily basis. Filling that hole the next day, knowing that tens of thousands of people were going to expect something funny. There is still that pressure, but you kind of learn how to cope with it a little better.
With a standard editorial cartoon, you're taking tons of information and synthesizing it down to a single bite - a single moment in time. With animated editorial cartoons, it's more storytelling.