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Read through the most famous quotes by topic #journalism
It was 9:30 P.M., just an hour from deadline for the second edition. Woodward began typing: A $25,000 cashier's check, apparently earmarked for the campaign chest of President Nixon, was deposited in April in the bank account of Bernard L. Barker, one of the five men arrested at the break-in and alleged bugging attempt at Democratic National Committee headquarters here June 17. The last page of copy was passed to Sussman just at the deadline. Sussman set his pen and pipe down on his desk and turned to Woodward. 'We've never had a story like this,' he said. 'Just never.' -- Carl Bernstein, Bob Woodward ↗
#men
Until the August 1 story about the Dahlberg check, the working relationship between Bernstein and Woodward was more competitive than anything else. Each had worried that the other might walk off with the remainder of the story by himself. If one had gone chasing after a lead at night or on a weekend, the other felt compelled to do the same. -- Carl Bernstein, Bob Woodward ↗
#men
The August 1 story had carried their joint byline; the day afterward, Woodward asked Sussman if Bernstein's name could appear with his on the follow-up story - though Bernstein was still in Miami and had not worked on it. From the on, any Watergate story would carry both names. Their colleagues melded the two into one and gleefully named their byline Woodstein. -- Carl Bernstein, Bob Woodward ↗
#men
Simons, as restrained as Bradlee could be hard-charging and obstreperous, liked to tell of watching Bradlee grind his cigarrettes out in a demitasse cup during a formal dinner party. Bradlee was one of the few persons who could pull that kind of thing off and leave the hostess saying how charming he was. -- Carl Bernstein, Bob Woodward ↗
#men
Bradlee had been recruited with the idea that the New York Times need nod exercise absolute preeminence in American journalism. That vision had suffered a setback in 1971 when the Times published the Pentagon Papers. Though the Post was the second news organization to obtain a copy of the secret study of the Vietnam war, Bradlee noted that 'there was blood on every word' of the Times' initial stories. Bradlee could convey his opinions with a single disgusted glance at an indolent reporter or editor. -- Carl Bernstein, Bob Woodward ↗
#men
Aware that much of the story was out of his hands, he tried to exercise what control he could: he hovered around the reporters' typewriters as they wrote, passed them questions as they talked on the phone to sources, demanded to be briefed after they hung up or returned from a meeting. Now, gulping down antacid tablets, Rosenfeld grilled Bernstein and Woodward to find out how solid this latest story was. ↗
#men
The managing editor shared Bernstein's fondness for doping things out on the basis of sketchy information. At the same time, he was cautious about what eventually went into print. On more than one occasion, he told Bernstein and Woodward to consider delaying a story or, if necessary, to pull it at the last minute if they had any doubts. 'I don't care if it's a word, a phrase, a sentence, a paragraph, a whole story or an entire series of stories,' he said. 'When in doubt, leave it out.' -- Carl Bernstein, Bob Woodward ↗
#men
A prize-winning science reporter, Simons had become the number-two editor at the Post a year before. An intent, sensitive man with a large nose, thin face and deep-set eyes, he looks like the kind of Harvard teaching assistant who carries a slide ruler strapped to his belt. But he is skillful with fragile egos, and also the perfect counterpoint to Bradlee. Bradlee is more like Woodward: he wants hard information first and is impatient with theories. -- Carl Bernstein, Bob Woodward ↗
#men
Writing is for men who can think and feel, not mindless sensation seekers out of nightclubs and bars. But these are bad times. We are condemned to work with upstarts, clowns who no doubt got their training in a circus and then turned to journalism as the appropriate place to display their tricks. ↗
The truth is that The Wild One -- despite an admittedly fictional treatment -- was an inspired piece of film journalism. Instead of institutionalizing common knowledge, in the style of Time, it told a story that was only beginning to happen and which was inevitably influenced by the film. It gave the outlaws a lasting, romance-glazed image of themselves, a coherent reflection that only a very few had been able to find in a mirror, and it quickly became the bike rider's answer to The Sun Also Rises. The image is not valid, but its wide acceptance can hardly be blamed on the movie. The Wild One was careful to distinguish between "good outlaws" and "bad outlaws," but the people who were most influenced chose to identify with Brando instead of Lee Marvin whose role as the villain was a lot more true to life than Brando's portrayal of the confused hero. They saw themselves as modern Robin Hoods ... virile, inarticulate brutes whose good instincts got warped somewhere in the struggle for self-expression and who spent the rest of their violent lives seeking revenge on a world that done them wrong when they were young and defenseless. ↗
