‘People,’ in Des Moines; people leave the ‘Times’; a certain person on ‘Variety’

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Meredith's location in Des Moines, Iowa. (Google Maps)
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The Lineup collects the media stories, big and small, that are on our radar each day.

Employees of magazine publishers Meredith and Time Inc. are bracing for a corporate culture clash as executives from the two companies work to iron out a deal for the former publishing company to acquire most of the latter's titles.

The New York Times' Christine Haughney reports:

Meredith’s headquarters in Des Moines have an open floor plan; the executives have their offices on the first floor and favor early-morning meetings. A recent lunch at one of Meredith’s magazines featured kale salad and rosemary-infused cucumber lemonade. Time Inc. executives tend toward lunches at Michael’s, where the dry-aged steak is a highlight, and after-work cocktails at the Lamb’s Club.

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And then there are the postrecessionary approaches to travel: Meredith’s chief executive turned its corporate jets into shuttles with open seating, while Time Inc. still allows staff members to expense hotel rooms at the Four Seasons.

“It’s like the Yankees’ farm team taking over the Yankees,” according to a current Time Inc. executive.

Meanwhile, Time Inc. C.E.O. Laura Lang's appearance this Thursday at the Paley Center for Media has been canceled, reports W.W.D.'s Erik Maza, writing: "Even if the last-minute reshuffling runs the risk that Lang won’t be ceo for much longer, a spokeswoman said it is still trying to find a new date for Lang to sit for an interview."

In other news...

The New York Times is boosting its investment in conferences and has named former Times Magazine editor Gerry Marzorati to lead the effort. [Politico/On Media]

As expected, Susan Saulny is joining depatring Times colleague Jeff Zeleny at ABC News. [NYT/Media Decoder]

Morrissey bailed on "Jimmy Kimmel Live" over "animal serial killers." [NYT/Media Decoder]

Variety is going weekly and now has not one, not two, but three editors-in-chief. [Variety]

Michael Moore vs. Buzzfeed. [The Huffington Post]

Quote of the day...

Penske’s idea is to transform Variety into a thumb-sucking weekly about the entertainment business, leaving breaking news coverage to Deadline Hollywood. But both media already do and still will feature commentary and analysis. Penske announced on October 9th that he bought the once $200 million-valued trade, reportedly for the fire-sale price of $25 million after my Deadline Hollywood pretty much put it out of business.

Nikki Finke

On Twitter...

On TV...

Alec Baldwin thinks the New York Post deserves a Pulitzer:

From our inbox...

AFP got hacked:

AFP’S TWITTER ACCOUNT @AFPPHOTO WAS PIRATED TODAY AT 17:45.

Any documents or images posted on this account after 17:45 are NOT from AFP. AFP is taking all possible measures to restore the normal functioning of the account as soon as possible.

The second issue of Peter Kaplan's M, featuring Toby Maguire, Michael Bloomberg and Buzzfeed, is now on stands (and the magazine has a Tumblr, too):

The second issue of M is dedicated to the theme of Reboot. In his Editor’s Letter, Peter W. Kaplan explains that with the recent Superstorm Sandy and Presidential election, Reboot is especially relevant as this is a time for reassessment that will drive change. And the editorial subjects of this issue are all poised for just this type of change and reinvention.

Michael Kamber's forthcoming book, "Photojournalists on War: The Untold Stories from Iraq," features a forward by Dexter Filkins and interviews with Tyler Hicks, Lindsey Addario, Chris Hondros (since deceased) and others:

The photojournalists who documented the war in Iraq faced a new kind of urban warfare. To the roadside bombs, snipers, and Katyusha rockets, Iraq added assassins, kidnappers and deadly street mobs; each photographer soon became as much target as observer. Tellingly, more photojournalists were killed in Iraq than in any other modern conflict; hundreds were abducted and wounded, or narrowly escaped death. Despite the great personal risks, some stayed and worked amidst increasingly brutal conditions as the war escalated from "shock and awe" invasion, to occupation, to insurgency, to civil war. With visceral, previously unpublished photographs and eyewitness accounts by an incredibly diverse group of the world's top news photographers, Photojournalists on War (University of Texas Press, May 2013) presents a groundbreaking new visual and oral history of America's nine-year conflict in the Middle East.

Michael Kamber, a writer and photojournalist for over 25 years, who covered the Iraq War for the New York Times between 2003 and 2012, interviewed thirty-nine colleagues for the book, many of them from leading news organizations including Agence France-Presse, the Associated Press, the Guardian, the Los Angeles Times, Magnum, Newsweek, the New York Times, Paris Match, Reuters, Time, the Times of London, VII Photo Agency, and the Washington Post.

The in-depth interviews presented in Photojournalists on War offer candid and honest first-person, frontline reports of the war as it unfolded, including key moments such as the battle for Fallujah, the toppling of Saddam's statue, and the Haditha massacre. The photographers vividly describe the often shocking and sometimes heroic actions they and other journalists undertook in trying to cover the war, and the role of the media and issues of censorship that changed as the war intensified. This book also includes accounts by photographers who photographed the war at home, documenting the conflict from the perspective of families of servicemen and women whose lives were changed forever.

The hard-hitting accounts of these practitioners would be rare in the annals of any war, yet here they reveal the inside and untold stories behind the headlines in Iraq. Each interview is logged with the year and location it took place, and is accompanied by a selection of the photographer's work made on and off the battlefield. The book includes meticulous details, including a timeline of the war in Iraq, maps showing the key locations of the conflict, biographies on the contributing photographers, a glossary of war terms, and even a copy of the news media ground rules that photographers had to sign in order to embed with the American military.

Photojournalists on War is the closest we have come on the written page to the experience of modern warfare. This powerful volume is a necessary addition to the libraries of those interested in photography, photojournalism, and the history of modern warfare, humanism, media studies, and censorship.