In "Untimely," her essay in the April 19 New Yorker, Jill Lepore writes about the decades-long spat between the founders of Time and The New Yorker, Henry Luce and Harold Ross. Luce and his Yale classmate Briton Hadden started Time in 1923, but not before dithering about the magazine's name:
Luce and Hadden thought about calling their magazine Destiny, which hints at the size of their dream. They also tried out What’s What, and for a long time they called it Facts. What Time became is lavishly celebrated in “Time: The Illustrated History of the World’s Most Influential Magazine” (Rizzoli; $50), by Norberto Angeletti and Alberto Oliva. Luce came up with the name after a late-night subway ride, during which he found himself staring at an advertisement that read “Time for a Change.” “That’s it,” Hadden said. “Time” was perfect, since the magazine’s strategy was twofold: it would be a history of our time, chronicling the events of the day, and it would save readers time.
(In 1930, Luce launched Fortune. He had wanted to call it Modern Business, but after the 1929 stock-market crash, Lepore writes, he changed the name "to something that allowed for twists of fate.")
Hadden was Time's first editor; Luce ran the business side:
The idea was that they'd rotate. They agreed, though, that the magazine had to have a language of its own: Timestyle. “You’re writing for straphangers,” a former professor of theirs advised them. “You’ve got to write staccato.” Hadden marked up a translation of the Iliad, underscoring compound phrases, like “wine-dark sea.” (A “sea as dark as wine” dragged.) No longer did events take place “in the nick of time” but “in time’s nick.” Everything was epic. Homer is why Time’s story about the Scopes trial began this way: “The pens and tongues of contumely were arrested. Mocking mouths were shut. Even righteous protestation hushed its clamor, as when, having striven manfully in single combat, a high-helmed champion is stricken by Jove’s bolt and the two snarling armies stand at sudden gaze, astonished and bereft a moment of their rancor.”. . .
Hadden liked to coin words, compounds like “news-magazine.” He imported “tycoon,” “pundit,” and “kudos” into English. He filled a notebook with lists. Famed Phrases: “flabby-chinned.” Forbidden Phrases: “erstwhile” (use “onetime” instead). Unpardonable Offenses: failing to print someone’s nickname. He was fond of middle names, of inverted subject and predicate phrases, of occupations as titles: “famed poet William Shakespeare” and “Demagog Hitler.” (What next? one reader wanted to know. “Onetime evangelist Jesus Christ?”) Hadden was uncompromising and, not infrequently, explosive. His Timestyle manual listed his cardinal rules: “Be specific. Be impersonal. Appear to be fair. Be not redundant. Reduce to lowest terms. You cannot be too obvious.” Scowl-faced was Editor Hadden, forgotten mag-man, called by the boys “the Terrible-Tempered Mr. Bang.”
Read the rest of Lepore's article.
Then read Janet Maslin's review of a new biography of Henry Luce, The Publisher, in the New York Times. "He made up in pretension what he lacked in personal charm," Maslin writes about Luce.



