SoHo Weekly News

Defunct New York City alternative weekly newspaper

SoHo Weekly News

Type| Alternative weekly
Founder(s)| Michael Goldstein
Founded| October 11, 1973
Language| English
Ceased publication| March 10, 1982
City| New York
Readership| 25-30,000

The SoHo Weekly News 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 AMG was unable to make it profitable. Many of the staff went on to have illustrious careers at other New York publications.

The paper was known for its coverage of the Manhattan's SoHo neighborhood, which at the time was just starting to become fashionable. Although the official editorial stance was anti-gentrification, there have been arguments made 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, with the paper being particular well known for its early coverage of the punk rock band, the Ramones.

Several photographers at the paper went on to have storied careers. Bill Cunningham went on to many decades as a photojournalist for The New York Times. Allan Tannenbaum was well known for his coverage of rock musicians. Bruce Weber got his start photographing male fashion models with a ground-breaking photo series showing an underwear-clad Jeff Aqualon in erotic poses.

## Startup and operation

[edit]

SoHo Weekly News stock certificate

The SoHo Weekly News (SWN) was a weekly alternative newspaper published in New York City from 1973 to 1982.[1] The paper was founded in 1973 by Michael Goldstein (1938–2018) who put out the first issue on October 11, 1973, using "his last $800" to fund operations.[2][3] Initially published in eight pages, it eventually grew to over 100 pages and competed with The Village Voice.[2] In SoHo: The Rise and Fall of an Artists's Colony, Richard Kostelanetz asserted that the 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, Manhattan, although the earliest issues showed the address of Goldstein's apartment on nearby Broome Street on the masthead.[2][3] One of the more unusual topics covered was a review of East Village drug merchants; the piece described various brands of heroin and cocaine that were available, their street names, and commented on the relative quality.[5]

In January 1976, The New York Times reported that the SWN was the second largest English-language weekly in the city, being positioned as a direct competitor of The Village Voice, and was sold at 400 newsstands with a circulation of about 28,000. Goldstein described the intended audience as "basically the 22‐to‐35‐year old group, who grew up during the 60's going to rock concerts" but conceded that his market research consisted of seeing who was buying the paper at newsstands. Hank Weintraub, vice president of ad agency DienerHauser-Greenthal, stated that the paper's circulation and effectiveness were unproven and he would only place ads there when specifically requested by clients: "It has not proven itself to be a viable medium or the challenge to The Village Voice they say they are". At the time, the paper had two salesman but was looking to hire three more and double both circulation and ad revenue by the end of the year. Stephen M. Blacker, associate publisher of The Village Voice, commented that he didn't "see them as real competition".[3]

In a 1985 review, publisher Bonnie Marranca wrote of her efforts in 1975 to get Performing Arts Journal off the ground. She had lined up printing services but was facing the even larger expense of typesetting. At the time she was writing for the SWN, which she described as "renegade" and "a fledgling publication, with no pretense to paying writers". 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.[6] Marranca again wrote about the SWN in 1995, describing 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".[7]

In a 2020 interview, Kim Hastreiter spoke with Paper magazine editor Mickey Boardman and described the impact the SWN had:[8]

> ... 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

[edit]

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, Stephen Petrus argued that despite taking an editorial stance opposing gentrification, the SWN actually promoted it, "showcasing the galleries, boutiques, and restaurants", eschewing a role as neighborhood watchdog in favor of competing directly with The Village Voice. He gave as an example "a two-part series for the 1973 holiday season, [in which] the Weekly News took readers on a tour of more than two dozen neighborhood shops." Petrus also noted their "extensive classified section, listing lofts for rent or sale" which helped drive up rents, pricing artists and other renters without long-term leases out of the area.[9]

In 1974, SWN inaugurated a Loft of the Week feature in which they highlighted opulent residences. The first installment covered the home of fashion designer Valerie Porr, which they described as "[one of the] most fascinating spaces in SoHo".[10]: 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"[10]: 178 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 artist's lofts, they were coming more to look at the real estate than the artwork.[10]: 179

## Staff

[edit]

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][11][12] Gerald Marzorati, art editor and Artful Dodger columnist, was reportedly the first journalist to write a major story about Keith Haring.[13] Dramaturgy scholar Elinor Fuchs wrote for the paper as a freelancer.[14] John Perreault was senior art critic from 1975 – 1982, earning a 1979 fellowship in art criticism from the National Endowment for the Arts.[15] Edward Gorey wrote movie reviews under the byline Wardore Edgy; in a 2014 interview, he said that if The Village Voice was off-broadway, then the SWN was off-off-broadway.[16]

Richard Kostelanetz noted that The Village Voice, had been "founded ... by people residing within Greenwich Village, initially to provide them with cultural information about their community" and contrasted this with the SWN, stating that it had been "founded ... by an outsider" and that "Though the offices of the SoHo News were on Broadway below Houston Street, nearly all of its editors lived outside SoHo; most of its writers probably did as well".[4]

### Follow-ons

[edit]

Annie Flanders had been the fashion editor; 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.[17][18][19] Kim Hastreiter succeeded Annie Flanders as fashion editor; she and news reporter David Hershkovits went on to found Paper magazine.[20] 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.[21]

### Photography

[edit]

The photography staff included Allan Tannenbaum, Timothy Greenfield-Sanders, Bruce Weber, and Bill Cunningham. Cunningham did a style feature, Bill Cunningham's Sunday, having been recruited by Annie Flanders.[22][19] 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.[23] Tannenbaum was known for his coverage of rock music, having photographed David Bowie, John Lennon and Yoko Ono, and the Rolling Stones.[24] Greenfield-Sanders has work on display at the Museum of Modern Art[25] and the National Portrait Gallery,[26] and was featured in American Master: The Boomer List on PBS.[27]

Fashion photographer Bruce Weber's controversial 1978 series of photos featuring model Jeff Aqualon clad only in underwear was described in The New York Times as "flagrantly erotic" by Herbert Muschamp[28] and "legend" by John Duka.[29] Katya Foreman of the BBC labeled it as "iconic ... [defining] a new ideal for male models".[30] The photo story, using "very very expensive underwear from Saks Fifth Avenue", was later described by SWN fashion director Paul Cavaco as "an intimate portrayal of a young athletic man as a sexualized object", something which was "historically the focus of gay porn, not mass media". The announcement that Saks had cancelled their advertising due to the erotic nature of the photos was greeted with a round of applause from the staff because "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."[31]

## Music and arts coverage

[edit]

CBGB in 2005

The SWN was known for its coverage of new musical artists in downtown New York.[2] Author Richard Boch describes how many of the SWN staff would frequent the nearby Mudd Club each night, including Goldstein "dressed in a brass-button navy blazer and looking like a country club admiral".[32] Kim Hastreiter spoke about her experiences at SWN:[8]

> It was totally wild west at [the Soho News]. You got there 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, the SWN was one of the first papers to interview The Ramones.[33] According to Bernard Gendron:[34]

> A number of other groups followed Television's entry into CBGB's. The Ramones debuted in August 1974 as did Blondie [...] The local rock critic establishment—at The Village Voice and The New York Times—was slow to respond to the goings-on at CBGB's and not enthusiastic when it first did. During the length of the first wave, the brunt of local support came from the alternative press, initially The SoHo Weekly News and later the fanzines Punk and New York Rocker.

In 1978, they ran an interview with Talking Heads.[35] In their Video Lounge exhibit, the Museum of the City of New York noted the paper's leading role in covering the New York music scene:[36]

> New York fostered musical innovation in its varied venues, and as a global media capital it also provided the infrastructure to spread its new sounds locally, nationally, and inter-nationally. Influential print journalism and music criticism could be found in the pages of local outlets like The SoHo Weekly News and the East Village Eye, along with others with a further reach such as The Village Voice and New York Rocker.

Their 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 Theater.[10]: 126 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".[37] SWN was also known for their coverage of local artists struggling to make a name for themselves; Gary Indiana wrote in Artforum:[38]

> 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.

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. He recounted his experience doing a show with Marc Shaiman at Club 57 in the east village:[39]: time index 23:30

> There was only one newspaper back then ... The SoHo Weekly News. And [the show] got a rave review in The SoHo Weekly News. So the next week when we were doing the show ... and it [was] packed with people like Jay Presson Allen, Mike Nichols, Joe Papp, and Allen Carr

## Incidents

[edit]

On November 26, 1979, 27-year-old Manhattan resident Henry Benvenuti walked into the SWN office and asked to see art editor Gerald Marzorati. After being told he could not see Marzorati, Benvenuti took out a hatchet, stated that, "I'm doing this in the name of art,"[40] chopped off two of his fingers, and walked out of the office, leaving the fingers behind.[41] He was found in a nearby taxi with a briefcase containing only a $1 bill and a mousetrap. Benvenuti and his severed fingers were taken to Bellevue Hospital but doctors were unable to reattach the fingers.[42]

The paper's office was once bombed by a "leader of a radical organization" who was upset that his name had been misspelled in an article. The explosion injured two employees.[43]

In 1979, the SWN set up a 24-hour telephone line in their office and offered a $500 (equivalent to $2,000 in 2024) reward for information about the whereabouts of Etan Patz, a six year old boy who had disappeared in the neighborhood a few days earlier.[44] The case gave rise to a massive search effort and national awareness but was not solved for almost 45 years.[45]

## Decline and shutdown

[edit]

In May 1978, the English Associated Newspaper Group (ANG), led by Vere Harmsworth, took a 25% share in the SWN. Reportedly, this was in response to Rupert Murdoch, which 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.[46] ANG bought out the remaining stake in 1979 and named John Leese as publisher and editor in chief.[47] 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, continuing losses ($1.7 million in the previous year) forced ANG to shut down the paper in March.[48] The recent unionization of the paper was cited as a factor in the decision. The last issue, dated March 10–16, 1982, had 40,000 copies printed.[49]

Kim Hastreiter described the new owners as "these stupid people in England, who didn't know anything", saying, "All of the sudden, it was shut down and I didn't have a job."[8] In a 1996 interview on Berks Community Television, William Zimmer spoke of his experiences as the second art critic at the SWN, succeeding John Perreault:[50]: time index 6:04

> It was a newspaper that was a little before its time. It died in 1981 and the 80s were the golden decade for SoHo so if it had been able to stick around it could have had great success. But we were owned by a business that had a lot of North Sea oil interests so they kept us afloat and then when the price of oil went down they said "you're going to have to fend for yourselves" and we didn't know how to (inaudable) money ... [they ended the newspaper] overnight, or even less than overnight. We were working on a Tuesday afternoon for the next day. The paper came out on Wednesday and we got the word about 2 o'clock. The main editors protested: "at least let us put out a farewell issue" and they said "No."

After the SWN closed down, Zimmer wrote for The New York Times, as art critic for their suburban sections. He described how the SWN differed from the Times:[50]: 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 the SWN had been "a weekly journal of counter-cultural news and opinion for New York City".[51] Leese said the paper had lost $2 million in the previous year on operations with no prospects of making the paper profitable. Another spokesman put the total losses at $6 million. At the time of the shutdown, the staff numbered about 70 people, of which 25 were full-time reporters and editors.[51] The next week, the Times reported in their national edition that despite growing circulation, the paper had needed to increase advertising by six pages per issue, which the owners did not believe was possible.

'Contributing to the downfall was a pending lawsuit by Susan Sontag which claimed that the SWN had violated her copyright when it printed a speech she had given about communism. John Leese was quoted as saying that attempts to sell the paper had been unsuccessful, even at a price described as "nominal".[52] In contrast to most descriptions of the paper, Leese said, "We certainly didn't regard ourselves as an alternative newspaper. Our primary appeal was to a young and affluent reader". By way of comparison, he said "The Voice was older and had a virtual monopoly of classified (advertising) for a weekly publication. That's very important. If you want an apartment, The Voice is the paper to look at. It's very difficult to compete with that kind of stranglehold".[53]

In a New York Times op-ed published shortly after the paper folded, editor 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; a "plaster oven" in the summer, "drafty and underheated" in the winter, infested with "rats the size of dachshunds", and equipped with unreliable telephones and typewriters.[43]

## References

[edit]

1. ^ "Soho Weekly News articles, interviews and reviews from Rock's Backpages". www.rocksbackpages.com. Retrieved 2018-07-29.
2. ^ a b c d e Mallozzi, Vincent M. (May 25, 2018). "Michael Goldstein, Publicist Who Started SoHo Weekly News, Dies at 79". The New York Times. Retrieved 2018-12-02.
3. ^ a b c d Dougherty, Philip H. (January 20, 1976). "Advertising: SoHo News Aiming at The Voice". The New York Times. p. 59. Retrieved 2018-12-03.
4. ^ a b Kostelanetz, Richard (2003). Soho : the Rise and Fall of an Artists' Colony. Internet Archive. New York: Routledge. p. 175\. ISBN 0-415-96572-1.
5. ^ "Mad's smack". March 16, 1982. Retrieved 2018-12-03 - via Ephemeral New York.
6. ^ Marranca, Bonnie (1985). "PAJ, a Personal History". Performing Arts Journal. 9 (2/3): 23–42\. ISSN 0735-8393. JSTOR 3245509.
7. ^ Marranca, Bonnie (1995). "Theatre and the University at the End of the Twentieth Century". Performing Arts Journal. 17 (2/3): 55–71\. doi:10.2307/3245777. ISSN 0735-8393. JSTOR 3245777.
8. ^ a b c Boardman, Mickey (February 25, 2020). "The Best Advice Bill Cunningham Ever Gave Me". Paper.
9. ^ Petrus, Stephen (Winter 2003). "From Gritty to Chic: The Transformation of New York City's SoHo, 1962-1976". New York History. 84 (1): 79–85\. JSTOR 23183476.
10. ^ a b c d Shkuda, Aaron (2016). The Lofts of SoHo: Gentrification, Art, and Industry in New York, 1950–1980. The University of Chicago Press. ISBN 978-0226334189.
11. ^ Green, Penelope (2011-06-22). "On City Rooftops, Scrappy Green Spaces in Bloom". The New York Times. ISSN 0362-4331. Retrieved 2023-10-29.
12. ^ Ohta, Yukie (2018-07-09). "Remembering Michael Goldstein". SoHo Memory Project. Retrieved 2023-10-29.
13. ^ Ohta, Yukie (2021-11-30). "A Soho Weekly News Who's Who". SoHo Memory Project. Retrieved 2023-11-01.
14. ^ Risen, Clay (2024-06-18). "Elinor Fuchs, a Leading Scholar of the American Stage, Is Dead at 91". The New York Times. ISSN 0362-4331. Retrieved 2025-05-06.
15. ^ Greenberger, Alex (September 8, 2015). "John Perreault, Noted Art Critic for The Village Voice and ARTnews, Dies at 78". ARTnews.com. Retrieved 2025-05-06.
16. ^ Christopher Seufert (2014-10-28). Joyce Kenney Interviews Illustrator Edward Gorey (1991). Retrieved 2025-05-06 - via YouTube.
17. ^ Gabree, John (1988-03-24). "Details a Trendy Comer Among Fashion-Conscious Periodicals". Los Angeles Times. Retrieved 2023-11-01.
18. ^ Hyland, Véronique (2015-11-18). "Details Magazine Is Officially Done". The Cut. Retrieved 2023-11-01.
19. ^ a b Horyn, Cathy (2016-06-25). "What It Was Like to Be Photographed by Bill Cunningham". The New York Times. ISSN 0362-4331. Retrieved 2023-11-01.
20. ^ Ortved, John (2023-07-01). "Paper Magazine, the Oral History: 'They Were Wide Open'". The New York Times. ISSN 0362-4331. Retrieved 2025-05-09.
21. ^ Marsh, Steven P. (May 11, 2016). "Pelham's Gerald Marzorati was 'Late To The Ball'". The Journal News. Retrieved 2023-11-01.
22. ^ Ohta, Yukie (2021-11-30). "A Soho Weekly News Who's Who". SoHo Memory Project. Retrieved 2023-11-02.
23. ^ Rosman, Katherine (2016-07-01). "Bill Cunningham's Columns, the Early Days". The New York Times. ISSN 0362-4331. Retrieved 2023-11-02.
24. ^ "Allan Tannenbaum : Punk / Rock". The Eye of Photography Magazine. 2019-06-03. Retrieved 2023-11-01.
25. ^ "Timothy Greenfield-Sanders". Museum of Modern Art. Retrieved November 2, 2023.
26. ^ "The Black List: Photographs by Timothy Greenfield-Sanders". Smithsonian: National Portrait Gallery. 2015-12-03. Retrieved 2023-11-02.
27. ^ "American Masters: The Boomer List ~ Portraits of 19 Iconic Baby Boomers". Public Broadcasting System. 2014-09-12. Retrieved 2023-11-02.
28. ^ Muschamp, Herbert (1999-11-14). "Beefcake for the Masses". The New York Times. ISSN 0362-4331. Retrieved 2023-11-02.
29. ^ Duka, John (1982-07-20). "Weber's Naturalistic Eye on Men's Fashion". The New York Times. ISSN 0362-4331. Retrieved 2025-05-07.
30. ^ Foreman, Katya (February 12, 2016). "The Male Model: How did we get to Zoolander?". BBC.
31. ^ Rise of the Male Supermodel. September 20, 2024. Event occurs at 45:11. Retrieved 2025-05-06 - via YouTube.
32. ^ Boch, Richard (2017). The Mudd Club. Port Townsend: Feral House. p. 90 (ebook edition). ISBN 978-1-62731-058-1.
33. ^ Betrock, Alan (2013-04-17). "Ramones: 'We play short songs for people who don't have a lot of spare time' – interview from the vaults". the Guardian. Retrieved 2018-12-03.
34. ^ Gendron, Bernard. "Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde". press.uchicago.edu. Retrieved 2023-11-01.
35. ^ Gross, Michael (13 April 1979). "Talking Heads". Retrieved 2018-12-10 - via Rock's Backpages.
36. ^ "Video Lounge: Getting the Word Out". Museum of the City of New York. Archived from the original on October 31, 2023. Retrieved 2023-10-31.
37. ^ Oster, Jerry (July–August 1977). "Jerry Oster from New York". Film Comment. 13 (4): 2–3\. JSTOR 43450868.
38. ^ Indiana, Gary (1999-10-01). "Crime and Misdemeanors". Artforum. Retrieved 2023-11-03.
39. ^ The Museum of Modern Art (2018-02-12). Celebrating the Downtown Musicals of Marc Shaiman and Scott Wittman | MoMA LIVE. Retrieved 2025-05-06 - via YouTube.
40. ^ Byrd, Jerry (January 21, 1980). "Artist has no regrets over 'Protest' that cost him 2 fingers". Pittsburgh Press. Retrieved 2018-12-03 - via Newspapers.com.
41. ^ "Mutilation: The Artist's Angry Message". Washington Post. 1979-11-29. ISSN 0190-8286. Retrieved 2018-12-03.
42. ^ "Artist Leaves his Message: Two Fingers". Mount Vernon Argus. 1979-11-27. p. 1. Retrieved 2025-05-07.
43. ^ a b Page, Tim (March 20, 1982). "Alas, The Soho News Wasn't Cast-Iron". The New York Times. p. 27. Retrieved 2018-12-03.
44. ^ "Lost Boy, 6, Focus of Hunt". Mount Vernon Argus. 1979-05-29. p. 1. Retrieved 2025-05-07.
45. ^ Candiotti, Susan (May 24, 2012). "Man in custody in 1979 Etan Patz case". CNN.
46. ^ "2 Publications Deny Tie to Esquire Sale". The New York Times. 1979-05-03. ISSN 0362-4331. Retrieved 2023-11-01.
47. ^ Ohta, Yukie (2021-11-30). "A Soho Weekly News Who's Who". SoHo Memory Project. Retrieved 2023-10-31.
48. ^ O'Brian, Dave (23 March 1982). "SoHo news: The death of a weekly". The Boston Phoenix. Retrieved 9 August 2024.
49. ^ Zito, Tom (March 16, 1982). "Soho News Ends Publication". The Washington Post. Retrieved 3 December 2018.
50. ^ a b William, Zimmer (September 10, 1996). "New Arts Alive: NY Times Art Critic William Zimmer" (Interview). Interviewed by James Carrol.
51. ^ a b Friendly, Jonathan (1982-03-16). "British Publisher, Citing Losses, Closes SoHo News". The New York Times. ISSN 0362-4331. Retrieved 2023-10-31.
52. ^ Hoffman, Eva; Slade, Margot (1982-03-21). "Ideas and Trends; No More Soho News". The New York Times. p. 7 (Section 4, National edition). ISSN 0362-4331. Retrieved 2023-10-31.
53. ^ "Weekly SoHo News Closes". Nashua Telegraph. Associated Press. March 16, 1982. p. 12.

## External links

[edit]

* "SoHo Weekly News – New York in the 70s". Photography by Allan Tannenbaum.