To me, that's the foundational fact of my identity is that I'm a journalist and so it's hard to imagine putting anything else first.

My father was very much a child of the counterculture movement and was drawn to the idea of alleviating poverty in the developing world, helping farmers diversify their crops and stuff like that.

I think, I just always carry this kind of happy sense of being able to come into any situation and know that I don't exactly fit in, but I can make a place for myself.

I think we need to reckon in a very serious way with the emotional content of news and the way that people perceive facts and their perception of their situation and to me I think the tabloid is like fundamentally an emotional form of journalism and that kind of emotional valence is what distinguishes it from the broad sheet.

The New York Times I think really is the gold standard of a certain type of journalism and in some ways it's the most important type of journalism, this chronicle of the biggest and most important stories of our time covered with a level of rigor and seriousness that is really unparalleled.

To me the tabloid sensibility, in the best sense of the word, and I think people as like tabloids have receded as a kind of force in media people have started to associate the word tabloid with like National Enquirer and stuff like that.

I've always been a sort of curious and restless person. I've always wrestled with ambition.

I was educated in a deeply kind of un-politically-correct way. I went to St. John's College which is this kind of Great Books school which is equally popular with hardcore conservatives who want their kids to read the Great White Men canon and sort of free-thinking liberals like my parents.