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And Luce and Haddin's prospectus for Time,
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they said that they were not interested in
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how much information they put between the covers,
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but how much they got into the minds of their readers.
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That has been in the DNA of Time Inc. from the very beginning.
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Luce and Haddin instilled the idea that you could have an opinion.
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And I think you're always going to have people
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who disagree with you when you come down on one side or the other.
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But anytime you can influence the national conversation I think it's important
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I've spent a lot of time in the Time Archives over the years.
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The fun thing is feeling like a colleague to all of those people who came before.
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The technology has changed enormously, the climate has, the new environment has.
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But in some basic way, we are all doing the same thing,
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telling the stories that we think are most important,
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most interesting, most surprising.
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There's not a day that goes by that I don't learn something new
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in these files about the history of this company.
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For instance, Time has had an enormous influence on the English language.
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We gave the world words like socialite, racketeer,
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homophobia, op art, bobby socks, or televangelist.
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We also introduced the term World War II.
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Part of the genesis of our magazines was the desire
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to inform the public what war was all about.
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In 1969 Life published a picture of every single soldier who died during the week.
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I think this really helped turn the tide
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of public opinion against the war in Vietnam.
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I grew up reading Time Magazine's journalism about Vietnam.
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And I'm so when I went to Baghdad as Time's correspondent three,
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I knew I was part of this legacy.
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There was this continum going back 70 years.
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There's a tendency these days to pretend like there's no war going on.
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At Time our job is to make people pay attention
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to things that may not be pleasant, may not make them feel good about themselves,
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but are absolutely vital because these are wars
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that are taking place in their name and they have to pay attention.
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Henry Luce thought that the American public has the right
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to see the wages of war, the meaning of war.
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And I think that continued with the coverage of the Civil Rights Movement.
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Time Inc. magazines had a well-deserved reputation for fairness,
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objectivity, and all the rest.
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In the civil rights struggle our objectivity slipped, thank God.
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You couldn't be neutral in this.
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This could not continue.
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And Life Magazine photographs did more to bring
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that incredibly significant change in the South
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than any other medium in the country.
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From the very beginning Briton Hadden had Time Magazine trying to cover every single lynching.
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Life Magazine back in the 1950s did a groundbreaking expose of segregation.
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The Sports Illustrated series in the 1960s,
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The Black Athlete: A Shameful Story,
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generated the largest amount of mail that the magazine had ever received.
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I find the material in the archives endlessly fascinating.
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This collection documents the 20th Century into the 21st.
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But one of the fascinating things that I've come across in the archives,
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certainly the Zapruder film is one.
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I was chief of the LA bureau for Life.
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Colleagues shouted it to me, Dick, Kennedy's been shot in Dallas.
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We landed and our stringer said I heard that there
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is a businessman who is out there in Dealey Plaza
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with his home movie camera and he got the whole assassination.
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I couldn't get anything but his name Abraham Zapruder.
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I picked up the Dallas phone book.
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Thank God it was a "Z".
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I called and this tired voice answered and I said,
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am I the first reporter to call you?
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He said, yes.
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I went to his office.
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He said, all right come on in,
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I'm about to show the film to two Secret Service agents.
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So we went into this little room.
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He beamed it up against the wall and the three of us,
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two grizzled Secret Service agents and me,
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we just went, "uhh".
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It was the single most dramatic moment in my entire career.
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And I thought, there is no way in hell that I'm going
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to leave this man's office without that film.
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There are very few days in American history where in one day
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something happens that changes the way you look at the world and America's place in it.
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The cliche as that you can have anyone where they were
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the day they heard about the Kennedy assassination
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and decades later they could still tell you.
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The same was true of September 11.
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There was a real question about, are we at war now?
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And if so, with whom?
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And what was that going to mean?
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The greatest war photographer of our age is Jim Nachtwey.
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And it happened that Jim was at home on September 11.
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And so of course, he grabs his cameras and runs downtown
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and takes pictures that are so extraordinary in capturing
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both the heroism and the horrer of that day.
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I think himself narrowly missed being burried
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with a bunch of firemen as one of the buildings
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came down and they hurled themselves into a doorway
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as the debris comes over them.
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Having someone like him photographing it,
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really brought home to us, I think internally, oh,
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the war is here now.
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If Nachtwey is shooting it, then,
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the war is now in lower Manhattan.
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You know we presumptuously say that we write the first draft of history.
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That was never more true than on that day.
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I think the role of Time Inc.'s magazines is
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to really explain society in the world to our readers.
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The past couple of years there was so much going on
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around them that affected their lives,
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they were losing money in their stock market accounts, their 401Ks.
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Economically the country was falling apart
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people were losing their jobs and
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I feel like we really rose to the occasion.
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It's one thing to go in there cover the unfolding tragedy and then leave.
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Very early on we decided that was not how we were going to do it.
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We were going to remain focused on the story for a long time.
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For the first time on a foreign assignment,
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I was accompanied by a video editor.
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We were editing on the fly, sending stories in,
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putting them up on Time.com, and getting instant response from readers.
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Again these are new kinds of commitments over
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and above the the enormous commitment we've always given to big stories.
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And the fact that we're able to do this
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in a very difficult economic environment tells you
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something about how serious we are.
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Over the last 30 or 40 years our focus has broadened
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so much to cover things that are more of interest to women.
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In 1947 Life devoted 14 pages to the changing women's role.
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It showed one week's work for a housewife.
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It so clearly dispelled the comic myth
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of the housewife sitting at home eating bon-bons.
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This was a 100-hour work week.
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In the summer of 1973, Andrew Heiskell
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who was our chairman of the board sent a printed dummy
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of People Magazine to Clare Booth Luce, Henry Luce's widow.
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And it arrived just as she was heading over to the beauty palor
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and it immediately caught the attention of her hairdresser and the manicurist.
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And she wrote back transcribing the giddy back and fourth.
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She said it was destined to be read in every hair dressing salon,
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every doctors office, because it was just like eating peanuts.
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She couldn't stop once she began.
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When we launched the magazine were promising advertisers
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that we would sell a million copies every week.
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And I was frantically trying to pick covers
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that would sell on the newstands.
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Telly Savalas was in a show called Kojak, a big,
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big hit that summer.
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And we shot Telly from the waist up.
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I mean this was just a great big blob of glistening flesh.
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We must have gotten a score of letters from women saying,
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Okay, you showed me the top half of Telly,
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when are you gonna show me the bottom half?
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We didn't quite understand but, it's been happily making money ever since.
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These magazines are shorthand for what's on the public's mind.
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If there is one word that sums up everything would deliver to the reader,
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it is understand.
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You can get news anywhere, but if you want to understand
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what's going on, that's what we want.
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And people, 10 years from now, 20 years from now,
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100 years from now, are always going to want that.