Style
Many other columnists, such as Ed Sullivan in New York and Louella Parsons in Los Angeles, began to write gossip soon after Winchell's initial success. He wrote in a style filled with slang and incomplete sentences. Winchell's casual writing style famously earned him the ire of mobster Dutch Schultz, who confronted Winchell at New York's Cotton Club and publicly lambasted him for using the phrase "pushover" to describe Schultz's penchant for blonde women. Some notable Winchell quotes are: "Nothing recedes like success", and "I usually get my stuff from people who promised somebody else that they would keep it a secret".
Winchell opened his radio broadcasts by pressing randomly on a telegraph key, a sound that created a sense of urgency and importance and the catchphrase "Good evening, Mr. and Mrs. America from border to border and coast to coast and all the ships at sea. Let's go to press." He would then read each of his stories with a staccato delivery (up to a rate of 197 words per minute), though in an interview in 1967, claimed a speed of well over 200 wpm. noticeably faster than the typical pace of American speech. His diction can also be heard in his breathless narration of the Untouchables television series as well as in several Hollywood films.
Winchell feuded with New York radio host Barry Gray, whom he described as "Borey Pink" and a "disk jerk". When Winchell heard that Marlen Edwin Pew of the trade journal Editor & Publisher had criticized him as a bad influence on the American press, he thereafter referred to him as "Marlen Pee-you".
For most of his career his contract with his newspaper and radio employers required them to reimburse him for any damages he had to pay, should he be sued for slander or libel. Whenever friends reproached him for betraying confidences, he responded, "I know — I'm just a son of a bitch."
Read more about this topic: Walter Winchell
Famous quotes containing the word style:
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)