"Lacey had this huge chip on his shoulder. He walked into the room thinking that the people didn't welcome him and didn't like him. He gave the impression that he didn't understand the Voice and New York, and he didn't want to"
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A journalist’s sharpest weapon is often the casual diagnostic, and Sydney Schanberg wields it here like a scalpel. “Huge chip on his shoulder” isn’t just a personality note; it’s an origin story for conflict. The sentence is built as a chain of perception: Lacey “walked into the room thinking” he was unwelcome, then “gave the impression” he didn’t understand, then “didn’t want to.” Schanberg is mapping how alienation can be self-fulfilling, how a posture hardens into a fate.
The loaded nouns do most of the work. “The Voice and New York” reads like insider shorthand for an ecosystem: the Village Voice’s house style, its ironies, its status games, the city’s tempo and pecking order. To “understand” it is to speak its dialect; to “want to” is to submit, at least partially, to its terms. Schanberg’s subtext is that Lacey isn’t merely out of place; he’s performing out-of-placeness as a kind of armor, preemptively rejecting a room that might reject him.
There’s also newsroom politics embedded in the phrasing. Schanberg doesn’t accuse Lacey of incompetence so much as misreading the social contract of a storied institution. The critique lands because it’s psychological rather than ideological: the problem isn’t what Lacey believes, it’s the defensive stance he brings before anyone else speaks. In a media culture that runs on belonging and banter as much as bylines, that chip becomes a career-limiting prosthetic.
The loaded nouns do most of the work. “The Voice and New York” reads like insider shorthand for an ecosystem: the Village Voice’s house style, its ironies, its status games, the city’s tempo and pecking order. To “understand” it is to speak its dialect; to “want to” is to submit, at least partially, to its terms. Schanberg’s subtext is that Lacey isn’t merely out of place; he’s performing out-of-placeness as a kind of armor, preemptively rejecting a room that might reject him.
There’s also newsroom politics embedded in the phrasing. Schanberg doesn’t accuse Lacey of incompetence so much as misreading the social contract of a storied institution. The critique lands because it’s psychological rather than ideological: the problem isn’t what Lacey believes, it’s the defensive stance he brings before anyone else speaks. In a media culture that runs on belonging and banter as much as bylines, that chip becomes a career-limiting prosthetic.
Quote Details
| Topic | Anger |
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