New York
David Schneiderman, Village Voice Editor and Publisher, Dies at 77
David Schneiderman, an editor turned publisher turned chief executive of The Village Voice, the granddaddy of alternative newspapers, whose 28-year tenure ran from its era of downtown-bestriding indispensability to a long, slow fade in the internet era, died on Friday in Edmonds, Wash., near Seattle. He was 77.
His daughter, Kate Schneiderman, said the cause of his death, in a hospital, was pneumonia brought on by chronic lymphocytic leukemia, with which he was diagnosed two years ago. He lived in Woodway, Wash.
After being named editor in chief in 1978, Mr. Schneiderman elevated The Voice’s journalistic game, diversified a newsroom that was nearly all white and all male, and reckoned with an increasingly competitive landscape in which traditional newspapers and magazines imitated The Voice’s cutting-edge cultural and media coverage, as well as its insouciant tone.
His own hiring by Rupert Murdoch, who bought The Voice in 1977, added a chapter to the paper’s famous anti-establishment culture.
The staff vowed in a statement to refuse to work “for any new editor imposed on us in secret and without warning by the management.” Mr. Schneiderman could not take up his job for months until his predecessor’s contract expired. The staff backed down from its threat.
He entered the faction-ridden newsroom on 11th Street and University Place, where journalists defended their right to inject opinion into their copy and to refuse editing, as a coat-and-tie-wearing former editor of The New York Times, a favorite Voice foil.
He brought an easygoing, slightly bemused temperament that defused tensions; more important, he had a commitment to strong journalism.
“People fairly quickly found out that he was not what we had sort of stereotypically assumed he’d be, coming from The Times, and that he actually had a lot of good ideas and was a serious person and really good journalist,” Joe Conason, a Voice investigative reporter in the 1980s, said in an interview.
Mr. Schneiderman enhanced The Voice’s commitment to reporting. He hired Wayne Barrett, who investigated a real estate developer few took seriously, Donald J. Trump, and Teresa Carpenter, a crime reporter who in 1981 won The Voice its first Pulitzer Prize. He also fended off Mr. Murdoch, who wanted Mr. Conason’s wings clipped for writing critically and regularly about him.
“There was a layer of professionalism that got brought into The Voice that some of the people from the ’60s and ’70s didn’t like,” Tricia Romano, a former Voice writer who last year published an oral history of the paper, “The Freaks Came Out to Write,” said in an interview.
“He was very good at just connecting with people and navigating all the craziness,” she added.
Mr. Schneiderman’s agenda included diversifying The Voice. He named women as senior editors and made the paper a launchpad for young Black writers: He supported giving the music and culture critic Stanley Crouch a column and hired the writer Thulani Davis (later an opera librettist). Under him, the paper printed its first gay pride issue in 1979.
Mr. Schneiderman also fired Alexander Cockburn, a strong critic of Israel, for accepting $10,000 from the Institute of Arab Studies, a research group, for a book on the Israeli invasion of Lebanon. Mr. Cockburn, he said, had “damaged the credibility” of The Voice.
Under a new owner, Leonard N. Stern, a pet food and real estate mogul who bought The Voice in 1985, Mr. Schneiderman ascended to the job of publisher. He appointed Karen Durbin, a former arts editor, as the paper’s second woman editor in chief in 1994, a decision that aggravated the divide between hard-news reporters and cultural writers. Mr. Barrett, according to the oral history, wore a dress to the office the week Ms. Durbin took over.
Mr. Schneiderman pushed the paper to grow beyond its countercultural heritage and strident left-wing politics as its core readership grew older and more prosperous. Many on the staff — influential critics and columnists, who embraced the view that inmates should run the asylum — pulled in the opposite direction, fearful that The Voice would lose its edge.
In 1988 Mr. Schneiderman and Mr. Stern launched a tabloid weekly, 7 Days, an uptown alter ego to The Voice, with entertainment listings and deftly written takes on New York trends and scenes. It was a buzzy success, but two years later it ended its run for lack of advertising.
Competition from other New York weeklies with entertainment listings, including Time Out New York, ate into The Voice’s circulation even as traditional publications, including The Times’s arts and style sections, swiped pieces of its downtown DNA.
Moribund circulation and revenues at The Voice led to a once-unthinkable move: The $1.25 newsstand price was eliminated, and the paper became free in 1996.
“One of the negative aspects of The Voice over the past few years is that it has sort of self-ghettoized itself and lost a generation of readers,” Jules Feiffer, the Pulitzer Prize-winning cartoonist who contributed to the paper beginning in the 1950s, told The Times in 1996.
Moving to a giveaway model was a boon to circulation, which had more than doubled to 250,000 by 1999, and the paper said the increased advertising more than made up for lost revenue.
Mr. Stern — with input from Mr. Schneiderman, who was named president of Mr. Stern’s VV Publishing Corporation in 1988 — acquired other alternative papers, first L.A. Weekly in 1994 and later papers in Seattle, Nashville and the Twin Cities.
But with the advent of Craigslist, the free online portal for classified ads — the source of half The Voice’s revenue — Mr. Stern saw the writing on the wall and abruptly decided to sell.
“The minute Craigslist came to the city, literally within a few weeks, our ads — it was slow. Then it stopped growing and it never grew again,” Mr. Schneiderman told Ms. Romano for her oral history.
In 2000, the seven-paper chain, including the flagship Voice, was bought by a group of investors. They installed Mr. Schneiderman as chief executive, with a small equity stake, in a new company, Village Voice Media.
The company merged in 2005 with the New Times Group, a rival chain of alt-weeklies that Mr. Schneiderman had once disparaged for slashing staff at papers it acquired. Mr. Schneiderman was put in charge of exploring online opportunities for New Times. But he resigned a year later.
“I remember sitting in a meeting in my conference room, and I was suddenly inconsequential,” he was quoted as saying in the oral history. “I was like a potted plant.”
David Abbot Schneiderman was born on April 14, 1947, in Manhattan, the younger of two sons of Robert D. Schneiderman and Mary (Torres) Schneiderman. His father was a children’s wear salesman who later retired from the Izod company. His mother was an executive assistant at J.C. Penney. David grew up in the Long Island suburbs of Hewlett and Roslyn.
He received a bachelor’s degree in 1969 and a master’s degree in international studies in 1970 from Johns Hopkins University.
He was hired by The Times that year as an assistant editor on the newly created Op-Ed page, a collection of opinion columns that ran opposite the editorials.
His marriage to Peggy Rosenthal ended in divorce. In 2006 he married Dana Faust, the managing director of advertising for The Times at its Seattle sales office.
She and Ms. Schneiderman, his daughter from his first marriage, survive him, as do a stepson, Benjamin Drachler; a stepdaughter, Madeline Drachler; four grandchildren; and his brother, Stuart Schneiderman.
After resigning from The Voice, Mr. Schneiderman commuted from his home near Seattle to San Francisco, where he was an executive of a corporate communications firm, Abernathy MacGregor Group (now H/Advisors Abernathy). He retired in 2016.
Two years later, The Voice, which had ceased publishing in print and appeared only online, went out of business in its 63rd year. Its full-time staff by that time had shrunk to a mere 18 people.
“Newmark did destroy newspapers,” Mr. Schneiderman said of Craig Newmark, the founder of Craigslist, in the oral history. “There’s no two ways about it.”
Estimated spending on
broadcast ads that have aired
$1.1 million
$4.3 million
The Democrats running for mayor in New York City and a super PAC supporting Andrew M. Cuomo are spending millions to reach potential voters, with much of the spending going toward commercials on broadcast television. A New York Times analysis of the broadcast ads that have aired so far, using data from AdImpact, explored the major themes highlighted by the candidates: crime and safety, President Trump, affordable housing and corruption.
Among the ads aired,
seven mention crime and safety
3 ads
Mr. Cuomo, the former governor, has been framing himself as a law-and-order candidate who will crack down on crime and improve public safety. Ads run by Fix the City, the super PAC backing Mr. Cuomo, have depicted New York as a city in chaos. One of its ads opens with images of police sirens, caution tape and subway riders fleeing a smoke-filled train.
“Crime is rampant,” says a voiceover in another pro-Cuomo ad, also paid for by Fix the City. That ad also references Mr. Cuomo’s “five-borough crime and affordability plan,” which would add “5,000 more cops” to the streets.
Other candidates took a subtler approach. Scott Stringer, a former city comptroller, said in his only broadcast ad to air so far that he would “put a cop on every train” and “hire more mental health workers.” An ad for Brad Lander, the current city comptroller, tied the idea of safety to Mr. Lander’s plan to “end street homelessness for the mentally ill.” An ad for Zohran Mamdani, the state assemblyman, simply said he would make New York a “safer city.”
Among the ads aired,
five mention President Trump
2 ads
Taking jabs at Mr. Trump and his administration could almost be considered a requirement for candidates running in a Democratic primary in a city where former Vice President Kamala Harris won about 70 percent of votes in the 2024 presidential election. Still, some of the ads that mention the president are more direct than others.
An ad for Mr. Stringer was among the most explicit: “We deserve a mayor who can get our city back on track and keep this schmuck out of our business,” Mr. Stringer says over a clip of Mr. Trump dancing at a rally, adding that he will “tell Trump where to stick it.”
Mr. Lander drives a large forklift around a junkyard in his broadcast ad and places cars into a crushing machine. One of the cars has the words “Trump & Musk” in large black letters across the side.
Other candidates made only passing swipes at the president. Some of the ads supporting Mr. Cuomo mentioned that he took on Mr. Trump as governor and will again as mayor, and an ad for Mr. Mamdani said he would stand up to Mr. Trump. Mr. Myrie’s broadcast ad did not mention Mr. Trump.
All ads mention affordable housing
3 ads
Every broadcast ad reviewed in the analysis mentioned housing at least once. In one ad, Mr. Mamdani likened Mr. Cuomo to the current mayor, Eric Adams, whose housing policies have been similar to the former governor’s, and whose popularity declined after he was indicted on fraud and corruption charges in 2024. The Trump administration later dropped the charges.
“Cuomo is running for Adams’s second term,” Mr. Mamdani said in the ad, adding that he will “take on bad landlords and greedy corporations.”
Mr. Adams and Mr. Cuomo are both moderates who have many of the same donors, including powerful real estate leaders, and both have supported housing policies that are in stark contrast to Mr. Mamdani’s. The mayor and former governor both oppose freezing increases for rent-stabilized apartments, for example, while one of Mr. Mamdani’s ads is devoted solely to his plan to freeze rent prices.
In ads for other candidates, housing is mentioned only briefly. An ad by Fix the City for Mr. Cuomo said he will “cut red tape for affordable housing and build 500,000 new units.” In Mr. Stringer’s ad, he said he will “turn vacant lots into affordable apartments.” Mr. Myrie’s ad says he has “the boldest plan to build affordable housing.”
Among the ads aired,
three mention corruption
0 ads
Several of the candidates mentioned corruption in their ads. In Mr. Lander’s ad, a second car is brought out to be crushed, this one symbolizing “corruption,” specifically as it relates to Mr. Cuomo.
“Andrew Cuomo spent $60 million of your money to defend himself in court. That’s corrupt,” a voiceover says as the car is brought to the crushing machine. “But Brad Lander fights corruption.”
In the ad in which Mr. Mamdani compares Mr. Cuomo to Mr. Adams, the candidate paints the former governor and mayor as the corrupt establishment, responsible for making the city unaffordable.
“Working people are being pushed out of the city they built, and it’s because corrupt politicians like Eric Adams and Andrew Cuomo have sold us out to billionaires and corporations, rigging the economy against us,” Mr. Mamdani says over a series of images that combine Mr. Cuomo’s face and quotes about the former governor from news articles.
Mr. Stringer defines corruption less precisely, mentioning that he “fought corruption” as comptroller. The three pro-Cuomo broadcast ads by Fix the City did not mention corruption, nor did the ad for Mr. Myrie.
Total spending on advertising,
including future broadcast spots
| Total spent | Broadcast share | |
|---|---|---|
|
Fix the City (pro-Cuomo super PAC) |
$8.1 million | 91% |
 Mamdani |
$3.0 million | 41% |
 Lander |
$2.3 million | 72% |
 Stringer |
$1.9 million | 83% |
 Myrie |
$1.7 million | 27% |
Spending on ads that have already aired on broadcast television, which this analysis focused on, is one slice of candidates’ overall ad spending. They have also purchased broadcast spots to air more ads in the future, as well as ads on other platforms like streaming television, satellite and internet. Broadcast was, however, a major focus for the candidates.
Fix the City, the pro-Cuomo super PAC, has spent the most on advertising by far, with 91 percent of its spending devoted to commercials on broadcast networks. (Mr. Cuomo’s campaign has not yet aired any of its own ads on broadcast television, according to AdImpact.)
By contrast, the campaign for Mr. Mamdani, which has become known for its savvy approach to social media, has spent just 41 percent of its advertising budget on broadcast, according to the AdImpact data. (Mr. Mamdani’s campaign has, however, spent more on broadcast than any other individual platform.)
One of the leading Democrats in the mayor’s race, Adrienne Adams, the speaker of the New York City Council, has not yet aired an ad on broadcast television. The candidate struggled to raise funds early in her campaign, but recently got an infusion of $2 million from the city’s fund-matching program, which the campaign said it would use for an aggressive ad blitz in the coming weeks before the June 24 primary.
Over the course of one week, some of the richest people in the world descended on New York’s auction houses to purchase over $1 billion of art. It might have played out a little differently than you would have expected.
Can you guess which of these works sold for more?
Note: Listed sale prices include auction fees.
Image credits: “Untitled,” via Phillips; “Baby Boom,” via Christie’s Images LTD; “Hazy Sun,” With permission of the Renate, Hans & Maria Hofmann Trust/Artists Rights Society (ARS), New York; via Christie’s Images LTD; “Petit Matin,” via Christie’s Images LTD; “Concetto spaziale, La fine di Dio,” Artists Rights Society (ARS), New York/SIAE, Rome; via Sotheby’s; “Baroque Egg with Bow (Orange/Magenta),” via Sotheby’s; “The Last Supper,” The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York; via Christie’s Images LTD; “Campbell’s Soup I,” The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York; via Christie’s Images LTD; “Miss January,” via Christie’s Images LTD; “Fingermalerei – Akt,” via Sotheby’s; “Grande tête mince (Grande tête de Diego),” Succession Alberto Giacometti/Artists Rights Society (ARS), NY; via Sotheby’s; “Tête au long cou,” Succession Alberto Giacometti/ARS, NY/Photos: ADAGP Images/Paris 2025; via Christie’s Images LTD; “Revelacion,” Remedios Varo, Artists Rights Society (ARS), New York / VEGAP, Madrid; via Christie’s Images LTD; “Le jardin nocturne,” Foundation Paul Delvaux, Sint-Idesbald – ARS/SABAM Belgium; via Christie’s Images LTD.
Produced by Daniel Simmons-Ritchie.
On Saturday, a Mexican Navy ship on a good will tour left a New York City pier bound for Iceland. Four minutes later, it crashed into the Brooklyn Bridge. [Spanish] “It’s falling!” [English] “No way!” Here’s what happened. The Cuauhtémoc had been docked on the Lower East Side of Manhattan for four days, open to visitors looking for a cultural experience. As the ship prepared to leave on Saturday night, a tugboat arrived to escort it out of its pier at 8:20 p.m. The ship’s bow, the front of the vessel, faced Manhattan, meaning it would need to back out of its berth into the East River. As the Cuauhtémoc pulled away from shore, the tugboat appeared to push the side of the ship, helping to pivot the bow south toward its intended route. The river was flowing northeast toward the Brooklyn Bridge and the wind was blowing in roughly the same direction, potentially pushing the ship toward a collision. Photos and videos suggest the tugboat was not tied to the ship, limiting its ability to pull the ship away from the bridge. The Cuauhtémoc began to drift north, back first, up the river. Dr. Salvatore Mercogliano, who’s an adjunct professor at the U.S. Merchant Marine Academy, told The Times that the ship appeared to be giving off a wake. This suggests its propellers may have been running in reverse, pushing it faster toward the bridge. The tugboat sped alongside the ship as it headed north, possibly trying to get in front of it and help the ship maneuver the other way. But it was unable to cut the ship off or reverse its course. All three masts crashed into the underside of the Brooklyn Bridge at approximately 8:24 p.m., four minutes after the ship had left the pier, causing the top sails to collapse. Crew members standing on the masts during the collision were thrown off entirely. Others remained hanging from their harnesses. A New York City patrol boat arrived about eight minutes after the collision, followed quickly by a fire department boat. Additional law enforcement and emergency medical services removed the wounded for treatment. According to the Mexican Navy, two of the 227 people aboard the ship were killed and 22 others were injured.
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