[Bill Clinton] was the man, as a matter of fact, who, in terms of the Communications Decency Act, which would have made the Internet, the whole concept of cyberspace, vulnerable to rampant censorship - he pushed that bill, and I know the man in the Justice Department whom he persuaded - the guy didn't want to lose his job - to write the bill.
Miranda [Hentoff] is a complete musician. She's a composer, a singer. She writes scripts along - with her projects. And she's a superb teacher. Her teaching pupils have ranged from Itzhak Perlman to Sting.
I write a syndicated column for The Washington Post that goes to about 200, 250 papers.
What's wrong with it is, it lowers, to say the least, the credibility of the magazine. And if I were writing for [The New Republic ], I would feel diminished because the owner had done such a thing [fire a journalist].
I write a column for The Village Voice, which I've done since time immemorial, and occasionally - and books. And I occasionally write minor notes for record albums and occasional articles.
I wish [my wife] would [work] because - especially now the kind of - I mean, honesty is hardly the word. She writes with a ferocity of clarity that - nobody else around has now.
When I first knew Bob Dylan, he lived in the Village. And for a man who, years after, would disdain publicity or any attempts at interviews, whenever I'd write something about him, he'd be on the street corner saying, `When's it going to run? When's it going to run?' But I must say that album that was - it was the second album he did, and though I've never been a fan of his guitar-playing, he did - I have to admit, he did catch the Zeitgeist of the time.
I was very much against the Vietnam War, and Max Askeli was visiting Lyndon Johnson in the White House cheering him on, writing editorials. And in The Voice one day I once referred to him as Commander Askeli. And I called in to The Reporter to go over the galleys of a music piece I had written, and the editor whispered to me, `It's not gonna run. You're not gonna run. Max Askeli has fired you because of what you said about him.'
Margot [Hentoff] used to write regularly for The Voice, for The New York Review of Books, for Harper's Bazaar, and she really had the most distinctive writing style, even more than mine, than I've ever seen in this business.
I felt better about myself that I did it [calling Max Askeli Commander Askeli], rather than have - rather than thinking it and not writing it for being afraid of what might happen to me.
[Margot Hentoff] stopped [writing]. She decided that she had nothing more to say. And yet, every day, she has a whole lot to say, and I wish she'd write it down.
I was writing - at least beginning to write Boston Boy and there were a lot of holes in my so-called research. I didn't know the towns my mother and father came from in Russia. I didn't know the name of the clothing store I went to work for when I was 11 years old. I didn't know a lot of things. So I called for my FBI files, not expecting to have that stuff there, but I wanted to know what they had on me.But they did have the towns my mother and father lived in in Russia. They had the grocery store I worked in when I was 11 years old.
When John Adams - when - James Madison was writing - pretty much writing the Constitution, he got a letter from Thomas Jefferson, who was then-ambassador to France. And Jefferson said - I am paraphrasing - `Do not forget to keep habeas corpus and strengthen it.' That - in - that's the oldest English-speaking right. It goes back to the Magna Carta in 1215.
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