SoHo Weekly News (Wikipedia featured)

The SoHo Weekly News (SWN) was a weekly alternative newspaper founded by American music publicist Michael Goldstein and published in New York City from 1973 to 1982.

《苏豪周刊新闻》(SWN) 是一份另类周报，由美国音乐公关迈克尔·戈尔茨坦 (Michael Goldstein) 创办，于 1973 年至 1982 年在纽约出版。

Goldstein positioned the paper as a competitor to The Village Voice, an established alternative newspaper, but it struggled financially.

戈德斯坦将该报定位为老牌另类报纸《乡村之声》的竞争对手，但它在财务上陷入困境。

SWN was acquired by Associated Newspaper Group in 1979 and ceased publication three years later after the company was unable to make it profitable.

《SWN》于 1979 年被联合报业集团 (Associated Newspaper Group) 收购，三年后因公司无法盈利而停止出版。

The paper was known for its coverage of Manhattan's SoHo neighborhood as the area was becoming gentrified.

该报以其对曼哈顿 SoHo 社区的报道而闻名，该地区正在变得中产阶级化。

Although the official editorial stance was anti-gentrification, one retrospective argued that its coverage of local culture and business contributed to the upward trend in property values.

尽管官方的社论立场是反中产阶级化，但一项回顾认为，其对当地文化和商业的报道促成了房地产价值的上升趋势。

Its coverage of emerging music acts in local venues was particularly strong, including one of the first newspaper interviews with the punk rock band the Ramones.

它对当地新兴音乐表演的报道尤其广泛，其中包括对朋克摇滚乐队雷蒙斯乐队的最早的报纸采访之一。

Many of the staff went on to have distinguished careers after the paper shut down.

该报停刊后，许多员工继续取得了杰出的职业生涯。

Annie Flanders founded Details magazine while Kim Hastreiter and David Hershkovits started Paper.

Annie Flanders 创办了《Details》杂志，而 Kim Hastreiter 和 David Hershkovits 创办了 Paper。

Bill Cunningham spent 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.

比尔·坎宁安 (Bill Cunningham) 在《纽约时报》担任摄影记者数十年，艾伦·坦南鲍姆 (Allan Tannenbaum) 因其对摇滚音乐家的报道而闻名，而布鲁斯·韦伯 (Bruce Weber) 则凭借一篇颇具影响力的《SWN》照片故事开始拍摄男性时装模特，该故事展示了一位穿着内衣的男模特摆出色情姿势。

The SoHo Weekly News (SWN) was an alternative newspaper founded in 1973 by American music publicist Michael Goldstein and published in New York City until 1982.

《SoHo Weekly News》（SWN）是一份另类报纸，由美国音乐公关迈克尔·戈尔茨坦 (Michael Goldstein) 于 1973 年创办，在纽约市出版至 1982 年。

The paper competed with The Village Voice which over the previous two decades had established itself as the city's largest newsweekly.

该报纸与《乡村之声》竞争，《乡村之声》在过去二十年里已成为该市最大的新闻周刊。

Although the term alternative newspaper is not well defined, it generally refers to papers which cater to a distinct community or social group, often promoting a particular political point of view.

尽管“另类报纸”一词没有明确定义，但它通常指迎合特定社区或社会群体的报纸，通常宣扬特定的政治观点。

The 1960s and early 1970s saw the emergence of many of these, usually short-lived, in New York and elsewhere.

20 世纪 60 年代和 70 年代初，纽约和其他地方出现了许多这样的现象，但通常都是短暂的。

Following the establishment of the Voice in 1955, Walter Bowart's counter-culture East Village Other (EVO) started in 1965, running until 1972.

继 1955 年 Voice 成立之后，沃尔特·鲍瓦特 (Walter Bowart) 的反主流文化 East Village Other (EVO) 于 1965 年开始运营，一直持续到 1972 年。

On the heels of EVO, with many of the same staff, was the New York Ace debuting in 1971 and lasting only about a year.

紧随 EVO 之后，纽约王牌 (New York Ace) 于 1971 年首次亮相，但其许多员工仍是同样的员工，但只持续了大约一年。

Rat Subterranean News was published from 1968 to 1970.

《老鼠地下新闻》于 1968 年至 1970 年出版。

Elsewhere in the US, similar publications of the era included the Los Angeles Free Press (1964–1971), the San Francisco Oracle (1966–1968), Milwaukee's Kaleidoscope (1967–1971), the Chicago Seed (1967–1974), and Seattle's Helix (1967–1970).

在美国其他地方，那个时代的类似出版物包括《洛杉矶自由报》（1964-1971）、《旧金山甲骨文》（1966-1968）、《密尔沃基的万花筒》（1967-1971）、《芝加哥种子》（1967-1974）和《西雅图的螺旋》（1967-1970）。

Goldstein put out the first issue of the SoHo Weekly News on October 11, 1973, using the last $800 (equivalent to $5,800 in 2025) of his savings.

1973 年 10 月 11 日，戈尔茨坦用他最后的 800 美元（相当于 2025 年的 5,800 美元）积蓄出版了第一期《SoHo 每周新闻》。

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.

该报的办公室位于曼哈顿苏豪区斯普林街 111 号，不过最早的期刊是在附近布鲁姆街戈尔茨坦的公寓里出版的。

Initially 8 pages, SWN eventually expanded to more than 100.

SWN 最初只有 8 页，最终扩展到 100 多页。

In his 2003 book SoHo: The Rise and Fall of an Artists' Colony, Richard Kostelanetz asserted that SWN "was founded ...

理查德·科斯特拉内茨 (Richard Kostelanetz) 在其 2003 年出版的《SoHo：艺术家殖民地的兴衰》一书中断言，SWN“成立......

in part to exploit the success of the Voice, with a similar size and similarly weekly publication schedule".

部分原因是为了利用《好声音》的成功，其规模和每周出版时间表相似”。

SWN art editor Gerald Marzorati, however, had a vision for the paper which set it apart from its other predecessors, saying he wanted to "avoid the pitfalls of underground journalism – like self-indulgent, first-person writing".

然而，SWN 艺术编辑杰拉尔德·马尔佐拉蒂 (Gerald Marzorati) 对这份报纸有一个与众不同的愿景，称其​​希望“避免地下新闻的陷阱——比如自我放纵的第一人称写作”。

In January 1976, Goldstein told The New York Times that SWN was the second-largest English-language weekly in the city and was sold at 400 newsstands with a circulation of about 28,000.

1976年1月，戈德斯坦告诉《纽约时报》，《SWN》是该市第二大英文周刊，在400个报摊上出售，发行量约为28,000份。

He described the paper's audience as 22-to-35 years old: people who had come of age attending rock concerts in the 1960s.

他将该报的读者描述为 22 至 35 岁：那些在 20 世纪 60 年代参加摇滚音乐会的人。

He conceded, however, that his market research consisted of seeing who was buying the paper at newsstands.

不过，他承认，他的市场研究包括了解谁在报摊购买报纸。

Five years later, after the paper had undergone a change of ownership and was struggling to survive, one unidentified SWN writer complained that the paper had never been able to pin down exactly who its audience was and another noted that historically it had appealed to "art workers, musicians, women and gays".

五年后，该报经历了所有权变更并陷入生存困境，一位不愿透露姓名的《SWN》作者抱怨说，该报始终无法准确确定其读者是谁，另一位则指出，该报历来对“艺术工作者、音乐家、女性和同性恋者”有吸引力。

Hank Weintraub 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 for The Village Voice as its management claimed, and that he would only place advertisements there when specifically requested by clients.

广告公司 DienerHauser-Greenthal 的汉克·温特劳布 (Hank Weintraub) 表示，该报纸的发行量和有效性尚未得到证实，它并没有像其管理层声称的那样对《乡村之声》产生如此大的竞争，而且他只会在客户特别要求时才在该报纸上投放广告。

Stephen M.

斯蒂芬·M。

Blacker, associate publisher of The Village Voice, saw a need for more newspapers but did not regard SWN as a serious competitor.

《乡村之声》的副出版人布莱克认为需要更多的报纸，但并不认为《西南新闻报》是一个强有力的竞争对手。

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

在 2020 年的一次采访中，时尚编辑 Kim Hastreiter 与 Paper 杂志编辑 Mickey Boardman 进行了交谈，并描述了 SWN 的影响：

...

...

there was this newspaper, called the SoHo News, that was downtown.

市中心有一份报纸，叫做《SoHo News》。

It was like our bible.

这就像我们的圣经。

Every Wednesday morning, it would come out and that's what you did.

每个星期三早上，它都会出来，这就是你所做的。

You bought it and looked through everything.

你买了它并仔细检查了一切。

It had a calendar that told you every club, every party, every art opening, every opening of anything, every concert.

它有一个日历，告诉你每个俱乐部、每个派对、每个艺术开幕式、任何活动的每个开幕式、每场音乐会。

You planned your whole week from it.

你用它来计划你的整个星期。

Many SWN staff had notable careers before or after their association with the paper.

许多 SWN 员工在加入该报之前或之后都曾有过辉煌的职业生涯。

The editorial team was led by founder Goldstein, who previously had been a successful music publicist.

编辑团队由创始人戈尔茨坦领导，他此前曾是一位成功的音乐公关。

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.

他的客户包括吉米·亨德里克斯、弗兰克·扎帕和感恩至死乐队。他所代表的 17 个乐队最终入选摇滚名人堂。

Goldstein recruited Jaakov Kohn, former editor of East Village Other, to serve as editor of SWN.

戈德斯坦聘请《East Village Other》前编辑雅科夫·科恩 (Jaakov Kohn) 担任《SWN》编辑。

Dan Rattiner, who had also worked at EVO, joined the paper as a columnist.

曾在 EVO 工作过的丹·拉蒂纳 (Dan Ratiner) 以专栏作家身份加入该报。

The editorial staff also included Doug Ireland.

编辑人员还包括道格·爱尔兰。

In 1976, Al Ellenberg was brought on as editor-in-chief.

1976 年，艾尔·埃伦伯格 (Al Ellenberg) 被任命为主编。

Ellenberg had previously been assistant managing editor at the New York Post, leaving there after Rupert Murdoch bought the paper.

埃伦伯格此前曾担任《纽约邮报》的助理总编辑，在鲁珀特·默多克收购该报后离开该报。

In addition to his editorial duties at SWN, Ellenberg also wrote Big Al, a column about horse racing.

除了在 SWN 的编辑职责外，埃伦伯格还撰写了有关赛马的专栏 Big Al。

Gerald Marzorati, SWN art editor and author of its Artful Dodger column, was reportedly the first journalist to write a major story about graphic artist Keith Haring.

据报道，SWN 艺术编辑兼 Artful Dodger 专栏作者 Gerald Marzorati 是第一位撰写有关平面艺术家 Keith Haring 重大报道的记者。

Dramaturgy scholar Elinor Fuchs contributed as a freelancer.

戏剧学者埃莉诺·福克斯 (Elinor Fuchs) 作为自由撰稿人做出了贡献。

John Perreault was senior art critic from 1975 to 1982, earning a 1979 fellowship in art criticism from the National Endowment for the Arts.

约翰·佩罗 (John Perreault) 于 1975 年至 1982 年间担任高级艺术评论家，并于 1979 年获得国家艺术基金会的艺术评论奖学金。

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.

爱德华·戈里（Edward Gorey）以“沃多尔·埃吉”（Wardore Edgy）为笔名撰写电影评论；在 1991 年的一次采访中，他说，如果《乡村之声》是外百老汇，那么《SWN》就是外百老汇。

Joan La Barbara reviewed lesser-known jazz and experimental musicians from 1974 to 1975.

Joan La Barbara 回顾了 1974 年至 1975 年间不太知名的爵士乐和实验音乐家。

Sally Banes edited dance and performance art from 1976 to 1980.

莎莉·贝恩斯 (Sally Banes) 于 1976 年至 1980 年间编辑舞蹈和表演艺术。

Banes also had a major role in a failed attempt to unionize SWN.

贝恩斯在组建 SWN 工会的失败尝试中也发挥了重要作用。

In 1976 freelancers made up 80 percent of the staff.

1976 年，自由职业者占员工总数的 80%。

In 2003, Richard Kostelanetz contrasted the residency of the staff 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.

2003 年，理查德·科斯特拉内茨 (Richard Kostelanetz) 将《乡村之声》员工的驻地情况与《SWN》进行了对比，指出《之声》是由居住在格林威治村的人们创立的，其目标是为其他居民提供社区新闻。

Kostelanetz considered Goldstein to be an outsider and said 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.

科斯特拉内茨认为戈德斯坦是个局外人，并表示尽管办公室设在苏豪区，但《SWN》的大多数编辑（而且他相信大多数作家）并不住在附近。

In 2015, Kostelanetz wrote that he did not consider SWN to be a "true SoHo publication", contrasting it with other contemporary small SoHo-based papers such as Art-Rite and Art Workers News, the latter being where Marzorati started his career as an art writer.

2015 年，科斯特拉内茨写道，他不认为《SWN》是“真正的 SoHo 出版物”，并将其与 Art-Rite 和 Art Workers News 等其他当代小型 SoHo 报纸进行对比，后者是 Marzorati 开始其艺术作家职业生涯的地方。

By the end of 1979 Goldstein had sold his stake in SWN, been replaced as editor-in-chief, and announced plans to start a new paper.

1979 年底，戈尔茨坦出售了他在 SWN 的股份，被取代为主编，并宣布计划创办一份新报纸。

The Wall Street Final began publishing in June 1980 but ceased publication after only two months.

《华尔街决赛》于 1980 年 6 月开始出版，但仅两个月后就停刊。

Annie Flanders joined SWN in 1976, where she worked as a style columnist and later as fashion editor.

Annie Flanders 于 1976 年加入 SWN，担任时尚专栏作家，后来担任时尚编辑。

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.

SWN 关闭后不久，她组织了一次由罗尼·库克 (Ronnie Cooke)、斯蒂芬·萨班 (Stephen Saban)、莱斯利·文森 (Lesley Vinson)、梅根·豪斯 (Megan Haungs) 和比尔·坎宁安 (Bill Cunningham) 等前员工参加的会议，创办了《Details》杂志，该杂志从 1982 年持续到 2015 年。

Kim Hastreiter succeeded Flanders as fashion editor; she and news reporter David Hershkovits went on to found Paper magazine.

Kim Hastreiter 接替 Flanders 担任时尚编辑；她和新闻记者大卫·赫什科维茨（David Hershkovits）继续创办了《Paper》杂志。

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.

马佐拉蒂随后在《纽约客》、《哈珀杂志》和《纽约时报》工作，并担任《纽约时报》杂志的编辑。

Staffers Margo Jefferson (theater critic) and Tim Page (classical music editor) both went on to win Pulitzer Prizes at other publications.

工作人员玛戈·杰斐逊（戏剧评论家）和蒂姆·佩奇（古典音乐编辑）后来都在其他出版物上获得了普利策奖。

In a 1985 review, publisher Bonnie Marranca wrote of her efforts in 1975 to get Performing Arts Journal started.

在 1985 年的一篇评论中，出版商邦妮·马兰卡 (Bonnie Marranca) 描述了她在 1975 年为创办《表演艺术杂志》所做的努力。

At the time, she was writing for SWN, which she described as "renegade" and "a fledgling publication, with no pretense to paying writers".

当时，她正在为《西南新闻报》撰稿，她将其形容为“叛徒”和“一家刚刚起步的出版物，没有假装向作家付费”。

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.

她已经安排了印刷服务，但面临着更大的排版费用； 《SWN》的出版商（未透露姓名，但大概是戈德斯坦）知道马兰卡的计划，并提出免费为她提供前三期的排版服务，以换取她再免费写作一年，她接受了。

Marranca again wrote about SWN in 1995, reflecting on her experiences as a theater critic there during 1975–1977.

1995 年，马兰卡再次撰写有关 SWN 的文章，反思了她 1975 年至 1977 年期间在那里担任戏剧评论家的经历。

She described the paper as "one of the respected, opinion-shaping newspapers at that time, featuring extensive coverage of the burgeoning downtown arts scene".

她将这份报纸描述为“当时受人尊敬、影响舆论的报纸之一，广泛报道了蓬勃发展的市中心艺术场景”。

The photography staff included Allan Tannenbaum, Timothy Greenfield-Sanders, Bruce Weber, Bill Cunningham, and Marcia Resnick.

摄影人员包括艾伦·坦南鲍姆、蒂莫西·格林菲尔德-桑德斯、布鲁斯·韦伯、比尔·坎宁安和玛西娅·雷斯尼克。

Cunningham, who had been recruited by Annie Flanders, wrote a style feature called Bill Cunningham's Sunday.

坎宁安被安妮·弗兰德斯招募，撰写了一篇名为《比尔·坎宁安的周日》的时尚专题。

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.

随后，他在《纽约时报》担任摄影记者，从事了漫长的职业生涯，制作了著名的“街头”和“晚间”专栏。

Tannenbaum was known for his coverage of rock music, having photographed David Bowie, John Lennon and Yoko Ono, and the Rolling Stones.

坦南鲍姆以其对摇滚音乐的报道而闻名，拍摄过大卫·鲍伊、约翰·列侬、小野洋子以及滚石乐队的照片。

Greenfield-Sanders has work on display at the Museum of Modern Art and the National Portrait Gallery, and was featured in American Master: The Boomer List on PBS.

格林菲尔德-桑德斯的作品在现代艺术博物馆和国家肖像画廊展出，并在 PBS 的《美国大师：婴儿潮一代名单》中得到专题报道。

Resnick's portraits of well-known people ran regularly.

雷斯尼克为名人拍摄的肖像经常出现。

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!.

她还制作了一个照片讽刺专栏，将神秘的照片与富有创意的故事结合起来。最初的标题是“雷斯尼克的信不信由你”，在受到里普利信不信由你的投诉后更名为“雷斯尼克的信不信由你”。

Bruce Weber's controversial 1978 series of photos featuring model Jeff Aquilon clad only in high-priced underwear from Saks Fifth Avenue was described years later in The New York Times as "flagrantly erotic" by Herbert Muschamp and as having "become legend" by John Duka.

1978 年，布鲁斯·韦伯 (Bruce Weber) 拍摄了一系列备受争议的照片，其中模特杰夫·阿奎隆 (Jeff Aquilon) 只穿着萨克斯第五大道精品百货公司 (Saks Fifth Avenue) 的高价内衣，多年后，《纽约时报》将赫伯特·穆尚 (Herbert Muschamp) 描述为“公然色情”，并被约翰·杜卡 (John Duka) 描述为“成为传奇”。

Katya Foreman of the BBC labeled it as "iconic ...

BBC 的卡蒂亚·福尔曼 (Katya Foreman) 将其称为“标志性的......

[defining] a new ideal for male models".

[定义]男模的新理想”。

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".

2020 年的独立电影《男性超模的崛起》将这个故事描述为“一个年轻运动员的亲密写照”，并表示“历史上，作为性对象的男性形象是同性恋色情片的焦点，而不是大众媒体”，但韦伯“使主流的概念合法化”。

Interviewed a few months after SWN shut down, Weber spoke about the shoot.

《SWN》关闭几个月后，韦伯在接受采访时谈到了这次拍摄。

Assigned by Annie Flanders to do a men's underwear feature, Weber wanted to present the subject "with voluptuousness", the same way women were traditionally photographed.

韦伯受安妮·弗兰德斯指派拍摄男士内衣专题，希望以“性感”的方式呈现这一主题，就像传统拍摄女性的方式一样。

After the piece ran, Saks cancelled its 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."

这篇文章发表后，萨克斯百货因为照片的色情性质而取消了广告；这一宣布得到了工作人员的热烈掌声，因为正如 SWN 时尚总监 Paul Cavaco 所说，“在那一刻，我们能把事情推向多远，我们能在多大程度上违背时尚应有的规范，人们对男模特的看法，男性美是什么，以及男性可以接受的表现。”

Originally a manufacturing district, the blocks between Houston and Canal Streets and between Lafayette Street and West Broadway started to attract artists in the late 1950s.

休斯顿街和运河街之间以及拉斐特街和西百老汇之间的街区最初是一个制造业区，从 20 世纪 50 年代末开始吸引艺术家。

Seeking room to work and low rents, they (often illegally) occupied factory lofts with wide open spaces and good lighting.

为了寻求工作空间和低廉的租金，他们（通常是非法的）占用了空间宽敞、采光良好的工厂阁楼。

The area gained a neighborhood identity when urban planner Chester Rapkin coined the name SoHo (South of Houston) in 1962.

1962 年，城市规划师切斯特·拉普金 (Chester Rapkin) 创造了 SoHo（休斯顿南部）这个名称，该地区由此获得了街区身份。

Groups such as the Artist Tenants Association and the SoHo Artists Association pushed for changes to zoning laws to legalize these occupancies and legitimacy came in 1971 with the passage of the so-called Artist In Residence law.

艺术家租户协会和 SoHo 艺术家协会等团体推动修改分区法，使这些占用合法化，并于 1971 年通过所谓的艺术家驻场法，使其合法化。

Initially, certificates of occupancy were only issued to buildings occupied exclusively by artists, but gradually this requirement became ignored and wealthy non-artists began to move in.

最初，居住证只颁发给艺术家专用的建筑物，但逐渐地，这一要求被忽视，富有的非艺术家开始入住。

Rising property values eventually drove out the artists in what The New York Times would later call the "SoHo effect".

不断上涨的房产价值最终赶走了艺术家，纽约时报后来称之为“SoHo 效应”。

SWN was an outspoken critic of this commercialization and gentrification.

《SWN》是对这种商业化和士绅化的直言不讳的批评者。

In a 2003 review of the revitalization of the neighborhood, however, Stephen Petrus (then a doctoral candidate in history) argued that SWN actually contributed to gentrification through its enthusiastic coverage of trendy local businesses.

然而，在 2003 年对该社区复兴的回顾中，史蒂芬·佩特鲁斯（Stephen Petrus）（当时是历史学博士生）认为，《SWN》实际上通过对当地时尚企业的热情报道，促进了中产阶级化。

He gave as an example a two-part 1973 series which explored more than two dozen SoHo retail establishments.

他举了一个 1973 年的两部分系列的例子，该系列探索了两打以上的 SoHo 零售店。

In October of that year, SWN also devoted its front page to coverage of the New York City Landmarks Preservation Commission having designated the area a historic district.

同年 10 月，SWN 还在头版专门报道了纽约市地标保护委员会将该地区指定为历史街区的情况。

Petrus said that SWN's classified ads for loft space contributed to the increase in rents which priced artists out of the area, eschewing its role as a neighborhood watchdog in favor of competing directly with The Village Voice.

佩特鲁斯表示，SWN 的阁楼空间分类广告导致租金上涨，导致艺术家离开该地区，SWN 避开了社区监督者的角色，转而与乡村之声直接竞争。

In 1974, SWN inaugurated a Loft of the Week feature highlighting opulent residences.

1974 年，SWN 推出了“本周阁楼”专题，重点突出豪华住宅。

The first installment covered the home of fashion designer Valerie Porr, described as "[one of the] most fascinating spaces in SoHo".

第一部分介绍了时装设计师 Valerie Porr 的家，被描述为“SoHo 最迷人的空间之一”。

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." SWN writer Jim Stratton took a contrary stance.

该报纸吹捧了改造后的阁楼的优点，并写道：“住在阁楼里可以让你在空间和空间关系方面有一个全新的维度。” 《SWN》作家吉姆·斯特拉顿则持相反的立场。

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.

在回应《纽约杂志》1974 年一篇将 SoHo 称为“城市中最令人兴奋的居住地”的文章时，他感叹大量富人的涌入可以“在 SoHo 买一套阁楼，然后派一位艺术家到布鲁克林”，而当人们来到艺术家的阁楼时，他们更多的是看房地产而不是艺术品。

SWN was known for its coverage of new musical artists in downtown New York; it was, for example, one of the first papers to interview the Ramones.

SWN 以其对纽约市中心新音乐艺术家的报道而闻名；例如，它是最早采访雷蒙斯乐队的报纸之一。

In 1975, Tommy Ramone explained to SWN staffer Alan Betrock why the band's performances moved so quickly: "We play short songs and short sets for people who don't have a lot of spare time."

1975 年，汤米·雷蒙 (Tommy Ramone) 向 SWN 工作人员艾伦·贝特洛克 (Alan Betrock) 解释了为什么乐队的演出进展如此之快：“我们为没有太多空闲时间的人演奏短歌和短集。”

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.

在戈德斯坦去世后不久的一次采访中，SWN 音乐编辑彼得·奥基奥格罗索 (Peter Occhiogrosso) 称赞戈德斯坦在纽约第 14 街以下，尤其是休斯顿街以下的音乐和夜店场景中的经验，推动了 SWN 的音乐焦点，并使其能够从 The Village Voice 中脱颖而出。

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".

作者理查德·博赫 (Richard Boch) 描述了有多少 SWN 工作人员每晚都会光顾附近的穆德俱乐部 (Mudd Club)，他回忆说，戈德斯坦经常穿着一件黄铜纽扣海军蓝西装外套，“看起来就像一位乡村俱乐部的海军上将”。

In a 2020 interview, Kim Hastreiter spoke about her experiences at SWN:

在 2020 年的一次采访中，Kim Hastreiter 谈到了她在 SWN 的经历：

It was totally wild west at [the SoHo News].

[the SoHo News] 完全是狂野的西部。

You got there [at] one in the afternoon.

你下午一点到达那里。

You didn't have to go to work till then because everyone was up all night at the clubs.

在那之前你不必去上班，因为每个人都在俱乐部里彻夜不眠。

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.

你必须去穆德俱乐部找到艺术总监，然后在凌晨两点拖她回到办公室做你的布局。

It was crazy there.

那里很疯狂。

We had a drug dealer that would come to the office.

我们有一个毒贩会来办公室。

Everyone was smoking pot.

每个人都在抽大麻。

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.

Bernard Gendron 在他的《Between Montmartre and the Mudd Club》一书中描述了 CBGB 的音乐场景；他将这个俱乐部描述为“一个完全不可能发生重大文化运动的场所”，并指出它填补了附近的默瑟艺术中心在建筑倒塌中被毁后的空白。

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.

CBGB 接待了 Television、The Ramones 和 Blondie 等新乐队，但该场地在很大程度上被《乡村之声》和《纽约时报》忽视，而是依赖另类媒体的报道：早期的《SWN》，随后是粉丝杂志《朋克》和《纽约摇滚》。

In 1978, for example, SWN ran an interview with Talking Heads.

例如，1978 年，SWN 接受了 Talking Heads 的采访。

SWN staffer Michael Gross described how the band played at CBGB, Max's Kansas City, and The Kitchen, with the members working day jobs and living in substandard housing on nearby Chrystie Street before signing any record contracts.

SWN 工作人员迈克尔·格罗斯 (Michael Gross) 描述了乐队如何在 CBGB、Max's Kansas City 和 The Kitchen 演出，成员们在签署任何唱片合同之前每天都在工作，住在附近克里斯蒂街的不合格住房中。

In its c.

在它的c。

2023 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.

在 2023 年视频休息室展览中，纽约市博物馆探讨了该报纸在报道纽约音乐界的主导作用，将其报道最直接地与 East Village Eye 进行比较，而更远地与 The Village Voice 和 New York Rocker 进行比较。

In 2002, dance critic Elizabeth Zimmer wrote that The Village Voice and SWN were the two main publications that offered space for young dance critics in New York starting their careers after the dance boom of the mid-1960s.

2002 年，舞蹈评论家伊丽莎白·齐默 (Elizabeth Zimmer) 写道，《乡村之声》和《SWN》是 20 世纪 60 年代中期舞蹈热潮之后，为纽约年轻舞蹈评论家提供职业生涯开始的两个主要出版物。

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.

SWN 的艺术报道范围从本地人才到主流；一篇关于舞蹈的文章包括美国芭蕾舞剧院在默瑟街阁楼的一场表演以及在大都会歌剧院的一场表演。

SWN was among the first newspapers to cover filmmaker David Lynch's feature-length directorial debut, Eraserhead.

《SWN》是最早报道电影制片人大卫·林奇的长篇导演处女作《橡皮头》的报纸之一。

Village Voice film critic J.

乡村之声影评人 J.

Hoberman wrote in a 2013 retrospective that the Voice and SWN were the only two newspapers to cover the film's 1977 release.

霍伯曼在 2013 年的回顾中写道，《好声音》和《SWN》是仅有的两家报道这部电影 1977 年上映的报纸。

He compared the two papers' approaches: his piece in the Voice was just two paragraphs tacked onto the end of another review he was already working on, while rival SWN ran an interview with Lynch.

他比较了两篇论文的方法：他在《美国之声》上发表的文章只是在他正在撰写的另一篇评论的末尾附加了两段内容，而竞争对手 SWN 则对林奇进行了采访。

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".

电影评论家杰里·奥斯特 (Jerry Oster) 在 1977 年对新导演/新电影节的报道中感叹《纽约时报》对它的关注度极低，而《乡村之声》和《纽约客》则根本没有关注：“对这个节目最全面的报道被让给了《苏豪周刊新闻》那些斗志旺盛的非正规组织”。

SWN was known for its coverage of local artists struggling to make a name for themselves.

SWN 以其对当地艺术家努力成名的报道而闻名。

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 ...

2018 年在现代艺术博物馆接受采访时，作词家斯科特·威特曼 (Scott Wittman) 讲述了《SWN》对推广新兴表演者的影响：“当时只有一份报纸......

The SoHo Weekly News".

《SoHo 新闻周刊》”。

He recounted his experience doing a show with Marc Shaiman at Club 57 in the East Village; after 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".

他讲述了他在东村 Club 57 与 Marc Shaiman 一起演出的经历；在《SWN》发表了热情洋溢的正面评论后，下周的演出“挤满了像杰·普雷森·艾伦、迈克·尼科尔斯、乔·帕普和艾伦·卡尔这样的人”。

In 1999, Gary Indiana wrote in Artforum:

1999 年，加里·印第安纳 (Gary Indiana) 在 Artforum 上写道：

There were plenty of artists of all types living there before this little boom thing in the mid-'80s.

在 80 年代中期的小繁荣之前，这里居住着许多各种类型的艺术家。

Most of the ones I knew never expected to have any type of commercial success.

我认识的大多数人从未想过会取得任何类型的商业成功。

The biggest thing that ever happened to them was a mention in The Village Voice or the SoHo Weekly News.

他们身上发生过的最重大的事情就是《乡村之声》或《苏荷周刊新闻》中提到了他们。

One night in October 1978, freelance crime reporter Ann Bardach was at the New York City morgue when a woman's body was delivered.

1978 年 10 月的一个晚上，自由犯罪记者安·巴达克 (Ann Bardach) 在纽约市太平间，一具妇女的尸体被送来。

Bardach later recalled that everybody assumed the dead woman was a prostitute but she recognized the woman from the Mudd Club and exclaimed, "Holy shit – that's Nancy Spungen!" None of the people at the morgue recognized the name, nor that of her punk rocker boyfriend Sid Vicious.

巴达克后来回忆说，每个人都认为死去的女人是妓女，但她认出了穆德俱乐部的女人，并惊呼道：“天哪——那是南希·斯彭根！” 太平间里的人都不认识这个名字，也不认识她的朋克摇滚男友席德·维瑟斯（Sid Vicious）。

Bardach wrote a series of articles about Spungen's murder which were published by SWN.

巴达克撰写了一系列有关斯蓬根谋杀案的文章，并由《SWN》发表。

In 2025, Spungen biographer 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".

2025 年，斯蓬根传记作者杰西·波拉克 (Jesse Pollack) 将这些故事描述为“关于犯罪的最早、最具影响力的新闻报道之一，在塑造公众对犯罪以及历史记录的理解方面发挥了重要作用”。

Bardach said she pitched the story to SWN because of how it covered the punk scene: "They recognized that it was a big deal".

巴达克说，她向 SWN 推荐这个故事是因为它如何报道朋克场景：“他们认识到这是一件大事”。

Although best known for its arts, local politics, and lifestyle coverage centered on downtown Manhattan, SWN also had some mainstream news coverage.

尽管 SWN 因其以曼哈顿市中心为中心的艺术、当地政治和生活方式报道而闻名，但它也有一些主流新闻报道。

This type of reporting increased during the 1978 New York City newspaper strike, when journalists such as Howard Thompson, Peter Freiberg, Eric Fettmann, and Clyde Haberman temporarily signed on to SWN after their papers were struck.

1978 年纽约市报纸罢工期间，此类报道有所增加，霍华德·汤普森、彼得·弗赖伯格、埃里克·费特曼和克莱德·哈伯曼等记者在报纸遭到罢工后暂时签约 SWN。

According to SWN editor Al Ellenberg, circulation and advertising both had significant increases during this time.

据 SWN 编辑阿尔·埃伦伯格 (Al Ellenberg) 称，发行量和广告量在此期间均显着增加。

In 1976, Arizona Republic reporter Don Bolles was killed by a car bomb while on assignment investigating corruption and organized crime in Arizona.

1976 年，亚利桑那共和报记者唐·博尔斯 (Don Bolles) 在执行调查亚利桑那州腐败和有组织犯罪的任务时被汽车炸弹炸死。

The newly formed Investigative Reporters and Editors Task Force conducted an extensive investigation, picking up the job Bolles had begun and producing an 80,000 word report.

新成立的调查记者和编辑工作组进行了广泛的调查，接手了博尔斯已经开始的工作，并制作了一份 80,000 字的报告。

Major newspapers such as The New York Times and The Washington Post declined to be part of the investigation but SWN printed the entire report as a 32-page supplement.

《纽约时报》和《华盛顿邮报》等主要报纸拒绝参与调查，但 SWN 将整个报告打印成 32 页的增刊。

In 1978, former US president Richard Nixon wrote a book of his memoirs, "RN: The Memoirs of Richard Nixon".

1978年，美国前总统理查德·尼克松写了一本回忆录《RN：理查德·尼克松回忆录》。

Despite tight security around the manuscript, SWN obtained copies of galley proofs of five pages from the upcoming book and published them, scooping the dozens of other papers which had paid for serialization rights.

尽管手稿的安全措施严密，《SWN》还是从即将出版的书中获得了五页的校样副本并将其出版，抢走了数十篇已支付连载权的其他论文。

According to Goldstein, the galleys came from "a group of people who wanted to show that [Nixon] was 'back in the deletion business'" and they arrived unsolicited.

根据戈德斯坦的说法，这些厨房来自“一群想要表明[尼克松]‘重返删除业务’的人”，而且他们是不请自来的。

On November 26, 1979, 27-year-old graphic artist Henry Benvenuti walked into the SWN office and asked to see Gerald Marzorati.

1979 年 11 月 26 日，27 岁的平面艺术家 Henry Benvenuti 走进 SWN 办公室，要求见 Gerald Marzorati。

Benvenuti had reportedly spoken to Marzorati earlier in the day by telephone, accusing him of being "just like all the other art writers".

据报道，本韦努蒂当天早些时候通过电话与马佐拉蒂交谈，指责他“就像所有其他艺术作家一样”。

Told he could not see Marzorati, Benvenuti said "I'm doing this in the name of art," chopped off two of his own fingers with a hatchet, and walked out.

当被告知他看不到马佐拉蒂时，本韦努蒂说：“我以艺术的名义这样做”，然后用斧头砍掉了自己的两根手指，然后走了出去。

Doctors at Bellevue Hospital were unable to reattach the fingers.

贝尔维尤医院的医生无法重新接上手指。

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.

经济困难的本韦努蒂与 SoHo 朋克场景有着千丝万缕的联系：他的艺术作品在 Mudd 俱乐部展出，他的照片挂在墙上。

Interviewed at Bellevue, he expressed disappointment at the lack of attention his exhibition at a SoHo gallery had received a year earlier and said that his self-mutilation at the SWN office was "to protest the plight of starving artists".

在贝尔维尤接受采访时，他对一年前在 SoHo 画廊举办的展览缺乏关注表示失望，并表示他在 SWN 办公室的自残是“为了抗议饥饿艺术家的困境”。

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.

《华盛顿邮报》的保罗·理查德将本韦努蒂的行为比作其他艺术家的自残事件，其中最著名的是梵高割掉自己的耳朵。

The paper's circulation was variable, at one point dipping as low as 14,000.

该报纸的发行量变化无常，一度跌至 14,000 份。

In May 1978, the English Associated Newspaper Group (ANG), led by Vere Harmsworth, paid $250,000 (equivalent to $941,000 in 2024) for a 25% share in SWN.

1978 年 5 月，维尔·哈姆斯沃斯 (Vere Harmsworth) 领导的英国联合报业集团 (ANG) 斥资 25 万美元（相当于 2024 年的 941,000 美元）购买了 SWN 25% 的股份。

Reportedly, this was in response to media mogul Rupert Murdoch (with whom Harmsworth had been feuding) having bought The Village Voice the previous year.

据报道，这是对媒体大亨鲁珀特·默多克（哈姆斯沃斯一直与他不和）去年收购了乡村之声的回应。

A year later, Goldstein stated that the paper had an annual revenue of $1.1 million (equivalent to $8,000,000 in 2025) and its circulation was 60,000; it was reported, however, that the paper was losing money.

一年后，戈德斯坦表示，该报年收入为 110 万美元（相当于 2025 年的 800 万美元），发行量为 6 万份；但据报道，该报正在亏损。

ANG bought out the remaining stake in 1979 and named British newspaper editor John Leese as publisher and editor-in-chief.

1979 年，ANG 买下了剩余股份，并任命英国报纸编辑约翰·利斯 (John Leese) 为出版商和主编。

In 1981, Leese announced that the paper's continued losses could not be sustained and instituted changes intended to make the paper profitable.

1981 年，Leese 宣布该报无法继续持续亏损，并进行了改革，旨在使该报盈利。

Columns by Allan Wolper, Doug Ireland, and Peter Freiberg were cancelled and a new graphic designer was hired.

艾伦·沃尔珀 (Allan Wolper)、道格·爱尔兰 (Doug Ireland) 和彼得·弗赖伯格 (Peter Freiberg) 的专栏被取消，并聘请了一位新的平面设计师。

Leese said that large potential advertisers such as Macy's were avoiding the paper because they thought it was "too gay" and cancelled plans for an upcoming gay-themed supplement.

利斯表示，梅西百货等大型潜在广告商正在避开该报纸，因为他们认为该报纸“太过同性恋”，并取消了即将推出的同性恋主题副刊的计划。

Managing editor Rob Manoff said he was working to change SWN's reputation as an alternative paper, aiming for an upscale audience and reducing the paper's focus on the SoHo neighborhood.

主编罗布·马诺夫 (Rob Manoff) 表示，他正在努力改变《SWN》作为另类报纸的声誉，瞄准高端读者并减少报纸对 SoHo 社区的关注。

He also wanted to shed the paper's reputation as a "punk-rock rag".

他还想摆脱该报纸作为“朋克摇滚抹布”的声誉。

In the fall of 1981, ANG announced plans to close or sell the paper by February 1982.

1981 年秋，ANG 宣布计划在 1982 年 2 月之前关闭或出售该报。

Although there were negotiations with possible purchasers which continued beyond the original deadline, ongoing losses ($1.7 million in the previous year, equivalent to $12,300,000 in 2025) forced ANG to shut down the paper in March.

尽管与潜在买家的谈判在原定截止日期后继续进行，但持续的损失（上一年为 170 万美元，相当于 2025 年的 12,300,000 美元）迫使 ANG 在 3 月份关闭了该报纸。

The closing was despite an increase in circulation in the last year, variously reported as either 12 to 15 percent or almost doubled.

尽管去年的发行量有所增加，但最终还是成交了，据报道，发行量增长了 12% 至 15%，甚至几乎翻了一番。

The last issue, dated March 10–16, 1982, had a print run of 40,000 copies, carried a cover price of $0.75 (equivalent to $2.50 in 2025) and featured a front-page story about actor John Belushi.

上一期的日期为 1982 年 3 月 10 日至 16 日，印数为 40,000 份，封面价格为 0.75 美元（相当于 2025 年的 2.50 美元），头版刊登了关于演员约翰·贝鲁什的故事。

The next issue was in production at the time the paper was officially shut down but never reached the newsstands.

当报纸正式停刊时，下一期正在制作中，但从未到达报摊。

At the time of the shutdown, the staff numbered about 70 people, of whom 25 were full-time reporters and editors.

停办时，工作人员约70人，其中专职记者、编辑25人。

The shutdown of SWN left ANG with interests in two other American publications: The American Lawyer and Esquire magazine.

SWN 的关闭使 ANG 对另外两本美国出版物产生了兴趣：《美国律师》和《时尚先生》杂志。

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.

该报在运营的最后一年加入工会是最终决定关闭的一个因素；作为对工会投票的回应，ANG 指示 Leese 关闭或出售该报纸。

This damaged staff morale, although The Washington Post reported that staff reaction to the announcement was "bittersweet".

尽管《华盛顿邮报》报道称，员工对这一消息的反应是“苦乐参半”，但这损害了员工的士气。

Leese said the paper had lost $2 million in the previous year on operations with no prospects of making the paper profitable.

Leese表示，该报去年因运营损失了200万美元，而且没有盈利前景。

Despite growing circulation, the paper needed to increase advertising by six pages per issue, which the owners did not believe was possible.

尽管发行量不断增加，该报仍需要每期增加六页的广告，但所有者认为这是不可能的。

Another spokesman put the total losses at $6 million.

另一位发言人称总损失为 600 万美元。

Reflecting on her time at SWN after being informed of the shutdown, dance reviewer Marcia Siegel wrote that it was widely known that the paper was in financial trouble.

舞蹈评论家玛西娅·西格尔 (Marcia Siegel) 回顾自己在《SWN》被关闭的消息后的经历，写道，众所周知，该报陷入了财务困境。

She put some of the blame on Goldstein, saying that his inexperience in the business made him underestimate how much money it would take to start a newspaper in New York.

她将部分责任归咎于戈德斯坦，称他在这方面缺乏经验，导致他低估了在纽约开办一家报纸所需的资金。

Siegel likened hearing the final news of the paper's demise to hearing of "the sudden death of a friend".

西格尔将听到报纸停刊的最终消息比作听到“朋友突然去世”。

According to Leese, attempts to sell the paper had been unsuccessful, even at a price he described as "nominal".

据利斯称，即使以他所说的“名义”价格出售该报纸的尝试也没有成功。

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.

与大多数对该报纸的描述相反，他说《SWN》并不认为自己是一份另类报纸，它吸引的是年轻而富裕的读者。

Comparing SWN to the older Voice, he said it "had a virtual monopoly of classified (advertising) for a weekly publication.

他将《SWN》与旧版《Voice》进行比较，称它“实际上垄断了周刊的分类（广告）业务。

...

...

If you want an apartment, The Voice is the paper to look at.

如果您想要一套公寓，《The Voice》是值得一看的报纸。

It's very difficult to compete with that kind of stranglehold".

与这种束缚竞争是非常困难的”。

Contributing to the downfall was a pending lawsuit by essayist Susan Sontag.

散文家苏珊·桑塔格（Susan Sontag）的一项悬而未决的诉讼是造成这一事件的原因之一。

On February 6, 1982, Sontag gave a speech critical of communism at The Town Hall.

1982年2月6日，桑塔格在市政厅发表批评共产主义的演讲。

Later that month, SWN published Sontag's comments (as did The Nation).

当月晚些时候，SWN 发表了桑塔格的评论（《国家报》也是如此）。

This coverage proved popular with SWN's readership but prompted Sontag to file a $50,000 (equivalent to $167,000 in 2025) lawsuit against the paper for alleged copyright infringement.

事实证明，这篇报道很受《SWN》读者群的欢迎，但促使桑塔格对该报纸涉嫌侵犯版权提起了 50,000 美元（相当于 2025 年 167,000 美元）的诉讼。

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".

桑塔格表示，她更希望这篇演讲刊​​登在《纽约时报》上，但一旦这篇演讲出现在她所说的“可怕的苏豪新闻”上，《纽约时报》就拒绝了。

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." The final decision to close the business was made at noon and the newsroom staff were informed by Leese at 4 pm with instructions to clean out their desks immediately.

在 2020 年的一次采访中，金·哈斯特雷特 (Kim Hastreiter) 将 ANG 描述为“英国的这些愚蠢的人，他们什么都不知道”，并表示，“突然间，它被关闭了，我没有了工作。”中午，最终决定关闭该公司，下午 4 点，Leese 通知新闻编辑部工作人员，要求他们立即清理办公桌。

Senior editor Eve Ottenberg said, "I don't think anybody burst into tears ...

高级编辑伊芙·奥滕伯格说：“我认为没有人流泪......

People were just kind of tired.

人们只是有点累了。

They sort of expected it, but some of the people were angry".

他们有点预料到了这一点，但有些人很生气”。

In a 1996 interview on Berks Community Television, William Zimmer spoke of his experiences as the second art critic at SWN, succeeding John Perreault.

1996 年，威廉·齐默 (William Zimmer) 在伯克斯社区电视台 (Berks Community Television) 的一次采访中谈到了他接替约翰·佩罗 (John Perreault) 作为 SWN 第二位艺术评论家的经历。

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".

他表示，SWN“有点超前”，如果能再存活几年，它会更成功，因为 20 世纪 80 年代是“SoHo 的黄金十年”。

He lamented that ANG, with its 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.

他感叹说，由于价格下跌，ANG在北海石油的投资面临着财务压力，所以突然关闭了该报：他说，命令是在周二下午2点发出的，工作人员甚至不被允许完成该问题的工作，因为第二天就会出来。

After SWN closed down, Zimmer wrote for The New York Times as art critic for their suburban sections.

SWN 关闭后，齐默为《纽约时报》的郊区部分撰写艺术评论家的文章。

He described how SWN differed from the Times:

他描述了《SWN》与《泰晤士报》的不同之处：

You were writing for a hip audience ...

你是在为时髦的读者写作......

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.

这就像成为一个小名人：你写完一些东西后走在街上，人们会祝贺你，或者与你争论，或者其他什么：你被注意到了。

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".

关闭后的第二天，《纽约时报》称《SWN》是“纽约市反文化新闻和观点的周刊”。

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".

几天后，蒂姆·佩奇在一篇专栏文章中称《SWN》是“另类报纸的另类”，将其描述为“一篇最有趣的小报纸：轻快、聪明、机智、快乐的享乐主义、极其不平衡”。

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".

该报的撰稿人被描述为“新保守派和马克思主义者、激进女权主义者和享乐主义浪荡子、慢性瘾君子和反毒品斗士”的古怪组合。

Page described the poor physical condition of the 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 did not always work.

佩奇描述了该报办公室的硬件条件很差：夏天太热，冬天太冷，老鼠出没严重，而且堆放的办公设备并不总是能用。

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".

《纽约时报时尚杂志》在 2018 年回顾中将 SWN 的关闭列为“在三年不平凡的时间里改变这座城市的事件之一”；詹妮弗·康拉德 (Jennifer Conrad) 写道，“另类报纸《苏豪新闻》在八年半的时间里记录了蓬勃发展的市中心艺术场景”。

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.

2023 年，《纽约时报》称《SWN》最大的成功是在 1970 年代，1982 年的消亡让伦纳德·艾布拉姆斯 (Leonard Abrams) 的《东村之眼》(East Village Eye) 有机会取代它，撰写许多相同的主题：强效可卡因的破坏性影响、艾滋病流行的冲击以及 SoHo 区的持续中产阶级化。

"SoHo Weekly News – New York in the 70s".

《SoHo 每周新闻 – 70 年代的纽约》。

Photography by Allan Tannenbaum.

艾伦·坦南鲍姆摄影。

Tannenbaum, Allan (2003).

艾伦·坦南鲍姆 (2003)。

New York in the 70s: SoHo blues, a personal photographic diary.

70年代的纽约：SoHo蓝调，个人摄影日记。

Overlook Duckworth.

俯瞰达克沃斯。

ISBN 978-3-89-985052-9.

ISBN 978-3-89-985052-9。

Includes many photographs of SWN staff and offices, and a selection of SWN front pages photographed by Tannenbaum.

包括许多 SWN 员工和办公室的照片，以及 Tannenbaum 拍摄的 SWN 头版精选。