"Newsweek" Jack Kroll called "Sgt. Pepper" a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's "The Waste Land". "The New Yorker" paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of "Revolver", Richard Goldstein wrote a scathing review in "The New York Times". He characterised "Sgt. Pepper" as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, "The Village Voice", where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the "Voice", in July.