Kubrick’s 2001 Space Odyssey in Town magazine

October 1, 2014

 

Opening of 5-page article on the set of 2001: A Space Odyssey with sketches by Clive Arrowsmith in Town magazine

Opening of 5-page article on the set of 2001: A Space Odyssey with sketches by Clive Arrowsmith in Town magazine

Clancy Sigal wrote the words and Clive Arrowsmith did these sketches on the set of Stanley Kubrick’s 2001: A Space Odyssey for the July 1966 issue of Town.

This was a special film issue, with articles about Len Deighton’s Funeral in Berlin, Casino Royale, Bryan Forbes and beach fashion spreads with the cast of Robert Aldrich’s  The Dirty Dozen.

The article, ‘2001: An informal diary of an infernal machine’, was written two years before the film’s release. Note the image of Saturn behind Dr Heywood R. Floyd (William Sylvester), a detail that is changed in the actual film, where the Discovery spaceship follows the monolith’s radio signal to Jupiter.

Sigal, a US novelist and screenwriter, points to a problem that still bedevils people today after seeing the film:

Arthur Clarke is going up the pole, trying to meet with Kubrick to put the end together. Kubrick is finishing the picture and, probably, wondering how to end it.

First spread of the Town magazine article shows one of the astronauts and the maintenance vehicle

First spread of the Town magazine article shows one of the astronauts and the maintenance vehicle (the right side of the page was cut off in the scanner)

Arthur C. Clarke – one of the best and most prolific of the SF writers who lives in Ceylon, where he has business interests, according to the text – was, of course, trying to finish his book.

Sigal speculates about an outcome similar to the ‘benign being that blessed’ Clarke’s Childhood’s End, though ‘it could turn out to be the hydrogen bomb in a rubber mask, like in (Madame Odinga Oginga from Outer Space) Sam Katzman’. He was prophetic on another point:

HAL may yet turn out to be the most interesting actor in the story.

Final spread of the Town article shows a sketch of the frozen scientists that is similar to a sketch shown to HAL in 2001

Final spread of the Town article shows a sketch of the frozen scientists that is similar to a sketch shown to HAL in 2001

In the film, one of the Discovery’s two crew members, David Bowman (played by Keir Dullea), is seen making sketches of the scientists in suspended animation, which he shows to HAL.

One of the sketches is similar to Arrowsmith’s at the bottom of this spread.

Clive Arrowsmith did illustrations for other issues of Town and is probably the famed photographer, who worked as a graphic designer for television after leaving art school before taking to the camera.

The article makes no mention of Arrowsmith having been commissioned by Kubrick to work on the film. So the question is: which came first? Did Town commission the article and then Kubrick take up the sketch idea, or had Kubrick commissioned Arrrowsmith to do the sketches and the latter took the article ida to Town?

In 2001, Kubrick shows one of the astronauts making sketches of the scientists in suspended animation

In 2001, Kubrick shows one of the astronauts making sketches of the scientists in suspended animation

 

Detail of Clive Arrowsmith sketch in Town magazine - compare it with the still from 2001 below

Detail of Clive Arrowsmith sketch in Town magazine – compare it with the still from 2001 above

 

 

Ace photographer Ken Griffiths dies

September 28, 2014
Ken Griffiths at the Grand Canyon, Arizona

Ken Griffiths at the Grand Canyon, Arizona, on a shoot for Volvo. Photograph by his assistant,  Lucy Williams-Wynn, from the Guardian website

Sad to hear at the weekend of the death of the photographer Ken Griffiths last month. As well as following his work, he was also a neighbour, living in the Surrey Dispensary until a year ago.

He was on the staff of the Sunday Times Magazine with Don McCullin in the 1970s and then did advertising for the likes of Saatchi & Saatchi as well as editorial work. Former Sunday Times editor Harold Evans used his images in Conde Nast Traveller from the first issue.

Ken had no truck with digital cameras, using whole-plate cameras, a century-old colour process called Carbro and printing on platinum that enabled him to achieve incredibly subtle images that were shown to great effect in the series he did of the Three Gorges dam in China. His father’s Welsh roots inspired several personal projects.

He was a fountain of stories, coming from that generation of edgy artists and bon-viveurs with friends such as Bruce Bernard – who chose one of Ken’s images for the V&A as one of 100 to tell the history of photography for the V&A – and Lucien Freud. He could charm the legs off a donkey, holding forth in the local pub, the Roebuck, with his tale of living on Easter Island for a week to photograph the statues and waking up each night under a blanket of cockroaches!

The last project he told me he was working on was to return to his native New Zealand and document the changing seasons – a technique he used for one of his early features, to document an elderly couple growing crops in their ‘English Country Garden’, as Phil Davison describes in his obituary of Ken in the Guardian.

See also a short Telegraph interview from 2011.

Time UK closes TV Easy

September 28, 2014
What's On TV and TV Easy

Dummy cover of merged What’s On TV and TV Easy

Time Inc has marked the killing off of the IPC name with two changes. First is the closure of its compact TV listings weekly TV Easy, with some features of the magazine being taken on by What’s On TV, its best-selling TV guide. The first combined issue will be on sale on September 30.

As is typical in such mergers, What’s On TV will carry a cover flash to highlight the changes and try to retain TV Easy‘s readers. The merged magazine will also be given a design ‘makeover’.

Woman and Home Fashion magazine

First issue cover of twice-yearly Woman and Home Fashion magazine (autumn/winter 2014)

The second change is better news, with the launch of the third Woman & Home spin-off, a twice-yearly fashion glossy for the magazine’s over-40 readers. Woman & Home Fashion joins Feel Good Food and Feel Good You, covering health and wellbeing.

TV magazines history

Woman magazine, a ghost and an omelette

September 17, 2014
Woman magazine cover 1904

Woman magazine from 1904 with a cover design by Septimus Bennett, younger brother of Arnold Bennett, the Potteries novelist and the magazine’s former editor

This magazine cover from 1904 is from an earlier title to use the name Woman than today’s IPC / Time weekly (which only dates back to the Odhams launch of 1937).

The cover design for this ‘high class penny paper for ladies’ was by Septimus Bennett. A book, Artist in Arms, was published in 2001 and is based on the diaries of a Septimus Bennett when he was working at a Vickers shell factory in Sheffield during the First World War. At first glance, it would seem to be an unlikely link between this Septimus and the cover designer, but it looks like they were the same man – and he was the youngest brother of the Arnold Bennett – voted greatest West Midland writer in 2005.

While Arnold is best known for his ‘Five Towns’ novels, based on the six Potteries towns, he started out as a writer in magazines. He won a literary competition in Tit-Bits – the best-selling magazine of the day – in 1889 and five years later became assistant editor of the Woman. This probably explains how brother Septimus got the job drawing the magazine’s cover. Arnold began writing fiction serials, which resulted in A Man from the North in 1898 and he became Woman’s editor in that year. He stepped down in 1900 to write full-time, including The Grand Babylon Hotel (1902), serious criticism and theatre journalism. He wrote a column in London’s Evening Standard in the late 1920s.

Nigel Slater has a recipe for Omelette ‘Arnold Bennett’, a standard dish at the Savoy in The Strand. His advice: ‘Stick with the classic interpretation unless you want the wrath of Arnold Bennett’s ghost upon you.’ Delia Smith also has a version and reckons that Bennett wrote the whole of his novel Imperial Palace (1930) while staying at the Savoy.

Septimus was an artist and designer and ran a studio in Hanley, Stoke-on-Trent, where he produced designs for ceramics. His cover incorporates advertising for P&P Campbell, the Perth Dye Works, which was a prominent advertiser in magazines and on hoardings. The typeset copy includes quotes from two other magazines: ‘Oldest and best dyers, Myra’s Journal’; and ‘Excellent dyers, The Lady’; the latter is still published from office in London’s Covent Garden.

Woman was printed by Unwin Brothers at 27 Pilgrim St in London for the publishers Beeton & Co. The company had been founded by Samuel Beeton and produced several famous and groundbreaking titles, including the Englishwoman’s Domestic Magazine, Boy’s Own, Myra’s Journal and Queen. The first off these spun off the famous Mrs Beeton’s Cookbook, which was compiled from her work on the magazine. Note the cover credit: edited by Mrs C.S. Peel (the original Avenger?). Dame Deborah Primrose replied to readers’s queries. About a dozen contributors are named, all but one a woman. Several fashion illustrations are credited to Rene Robinson.

The editorial offices were at 10-11 Fetter Lane, a thoroughfare that is an essential stop on any Fleet Street tour, having been the base for many publishing enterprises, such as Railway Magazine (no 30 in 1901), the Daily Mail (no 110 in 1920-61), DC Thomson’s Red Letter for the Family Circle (no 12 in 1950) and Jocelyn Steven’s Swinging Sixties version of Queen (no 52). It is also the site of a statue of John Wilkes, a radical journalist and rebellious politician in the late 1700s.

Woman describes itself as ‘A journal of information, entertainment and practical counsel for womankind the wide world over’ on its frontispiece page and closed in 1907, a run of 19 years.

 

A jazz approach to the crossword puzzle

August 27, 2014

 

Experimental jazz crossword: Jazz word square from 1937 in Rhythm magazine (June)

Experimental jazz crossword puzzle: Jazz word square from 1937 in Rhythm magazine (June)

 

The crossword puzzle was still pretty new in 1937, when this one appeared in Rhythm magazine’s June issue and, as here, experimentation was rife. The first modern-day crossword was reckoned to have been published on 21 December 1913 in the New York World. It was composed by Arthur Wynne, an immigrant from Liverpool who had played such games as a boy.

The most popular word game at the time in Britain was probably John Bull‘s ‘Bullets’. These prize cryptic competitions predated crosswords – and the magazine claimed to have paid out £620,000 prize money for its first 1000 puzzles. John Bull was selling 1m copies a week from 1914 to 1955.

The Sunday Express was the first British newspaper to publish a crossword, in 1924. The Daily Telegraph followed in 1925: ‘The initial plan was for these new-fangled puzzles to be published for just six weeks in deference to a passing American craze.’ But the idea stuck and in March 1928 the paper started publishing a prize crossword on a Saturday and in 1937 a daily quick crossword. In 1941, W.A.J. Gavin, owner of Vanity Fair, issued a challenge on the letters page to do the crossword in 12 minutes. (Daily Telegraph: 80 Years of Cryptic Crosswords by Val Gilbert.) The paper also published an article last year celebrating 100 years since the first US crossword by Arthur Wynne.

So there was lots of experimentation going on, and the idea of popular cryptic word puzzles in Britain, such as ‘Bullets’ in John Bull, was added to the simple word-definition clue concept to develop the cryptic crossword, an idea that has yet to take off in the US, where jumbo crosswords are much more popular. The Economist publishes a Christmas crossword for its US readers, complete with instructions.

Other famous crosswords include The Listener‘s, which appeared in the BBC’s weekly radio review in 1930. Both The Times and Country Life took up the idea in the same year. The Listener‘s crossword was adopted by The Times when the magazine closed in 1991. A tradition also developed of cryptic names for the compilers, so Alec Robins was ‘Zander’ in the Listener (1949-92) and ‘Custos’ for the Guardian, but used his real name in Intercity magazine.

In the 1950s, such was the level of competition for readers between and among newspapers and magazines that Tit-Bits was devoting four pages at the back of each issue to football pools, betting advice – and the solutions to the prize crosswords in Sunday newspapers and weekly rivals such as John Bull and Reveille.

 

Blighty for the troops in the Great War

August 22, 2014
'Water Babies' Christmas 1919 issue of Blighty magazine

‘Water Babies’ Christmas 1919 issue of Blighty, a free magazine for Britain’s armed forces

This cover for the Christmas 1919 issue of Blighty magazine looks to have been inspired by Charles Kingsley’s The Water Babies, which was already regarded as a classic – and had been published in two editions since the start of the First World War. Like so many books, Kingsley’s was first published as a serial in Macmillan’s Magazine (1862-63).

Among the illustrators for the various editions of the book were Noel Paton (first book edition of 1863), Linley Sambourne (1885), Warwick Goble (1909), W. Heath Robinson (1915) and Jessie Willcox Smith (1916), all of whom were established magazine illustrators. The artwork on the cover here was not credited.

Blighty magazine was an inspired idea and was produced solely for Britain’s fighting forces under the control of the Committee of Blighty from 40 Fleet Street. It was ‘a budget of humour from home’ sent free to the forces with a publishing strategy loosely based on the popular humorous titles of the day such as Punch and London Opinion. Many of their contributors drew or wrote for issues, but the magazine also encouraged contributions from men fighting at the front.

It was funded by advertising along with a special enlarged issue with a colour cover produced for sale at a shilling each Christmas and summer. The 1916 Christmas issue stated: ‘Every copy sold sends three to the trenches.’ This Xmas Home Number came out after the war had ended, of course, and makes no mention of free copies for the troops, because it had been turned into a commercial operation. Though still published from the same Fleet St address, it was now run by The Blighty Publishing and printing had been switched from Walbrook & Co in Whitefriars to George Berridge & Co in Upper Thames St.

A half page at the back of the magazine encourages people to buy a magazine that was ‘favourite reading’ for the armed services. The copy reads:

‘The paper is now on sale to the public. It is full of pictures and stories by the best humorous artists and writers, amongst whom are many men who sent their first contributions from the mud of Flanders, the sands of Mesopotamia, or the stormy waters of the North Sea … It was sent to you in the trenches. Now you can buy it at the shops and bookstalls. All Old Service Readers should be Civilian Readers now.’

Among the illustrators were Punch artist Ricardo Brook, Glossop, Dyke White, US ‘Gibson Girl’ artist C. Dana Gibson, Horace Gaffron (who had fought with the Gordon Highlanders and drew Good Housekeeping covers in the 1930s) and Arthur Ferrier (one of the most popular cartoonists of the 1940s and 50s).

Yet the strategy did not work, and the title closed within a year. However, Blighty was resurrected for the Second World War, again with official support as a free weekly for the troops. When hostilities ended, it was again turned into a men’s humorous weekly, this time successfully. It was rebranded as Parade in 1960 but collapsed as both advertising and readership were lost from all the weeklies to television and Sunday supplements, and became a top-shelf title.

 

AA Milne, Alfred Leete and St Bride’s Berlud mystery

August 18, 2014
Alfred Leete's blood-stained staircase at St Bride's Printing Library

Berlud! Alfred Leete and the curious case of the blood-stained staircase at St Bride’s Printing Library. Is it a joke based on an early play by Winnie the Pooh author AA Milne?

St Bride’s Printing Library has done a blog item – The curious case of the blood-stained staircase – about this Alfred Leete artwork they’ve discovered. They write:

‘… a blood-stained staircase in front of a dark green door with eyes peering through the letter box. Elsewhere in the image, a policeman stares in shock, or perhaps horror at the staircase. Adding confusion to possible interpretations is the paint can sitting at the bottom right corner of the door, which begs the question as to whether it is really blood at all. The word Berlud! is printed at the top of the frame’

There’s another curious detail – the copper’s bloodless, claw-like hands. Such a contrast against the ruddy face. They look like the hands of the vampire in Nosferatu, the 1922 German horror film. The word Berlud dates to June 1922 – it was in the title of an early play by AA Milne, Berlud, Unlimited. Also in April that year, the first murder mystery by the man who would go on to write Winnie the Pooh had been published, The Red House Mystery. It’s certainly possible the two men knew each other – in 1906 Milne was made assistant editor on Punch, which published Leete’s cartoons (though his Kitchener ‘Your Country Needs You’ poster was first published as a 1914 cover for a Punch rival, London Opinion). They were the same age and both served in the first world war.

I suspect this wasn’t a poster but the artwork for a whole page illustration of the sort Leete did for The Tatler. It could well have been a cartoon for the theatre pages of the society weekly. The Red House Mystery sold well and Milne was certainly making a name for himself with the literary public.

The letterbox and its peering eyes brought to mind the advertising flyer below from 1902. This letterpress flyer for the weekly Pictorial Magazine used spot colour to promote its latest serial, ‘The House with the Scarlet Knocker’, and carried an excerpt from the tale on the back. Could this 1902 image have sparked Alfred Leete’s imagination?

A letterpress flyer for the latest serial in Pictorial Magazine - could this 1902 image have sparked Alfred Leete's imagination?

A letterpress flyer for the latest serial in Pictorial Magazine – could this 1902 image have sparked Alfred Leete’s imagination?

 

 

 

 

Ravages of War in Kaiser Wilhelm’s face

July 15, 2014

Germany’s leader, Kaiser Wilhelm - The Ravager

Germany’s leader, Kaiser Wilhelm, with his moustache and military uniform, at the start of World War I. He is described as ‘The Ravager’

This postcard depicts Germany’s leader, Kaiser Wilhelm, with his flamboyant moustache and military uniform, at the start of World War I. He is described as ‘The Ravager’ and there appearss to be a tear falling from the right eye. It is when the card is turned upside down that ‘The Ravages of War’ he was responsible for are made clear.

The postcard turned upside down reveals the 'Ravages of War'

The postcard turned upside down reveals the ‘Ravages of War’ with the moustache becoming an imperial eagle

His nose and moustache become an eagle with a crown above its head – the German imperial symbol – atop a marble column. The falling tear has become a lion – a symbol for Britain – which is trying to climb the column to reach the eagle. And the lower eyelashes now spell out the names of the first Belgian cities that fell to the Germans – Liège and Namur.

The eyelashes spell out  Liège and Namur

The eyelashes spell out the names of the first Belgian cities that fell to the Germans – Liège and Namur

Both cities had been ringed with forts by 1892 and the Battle for Liège was the first engagement of the war. It began on 5 August 1914 and lasted until 16 August when the last fort surrendered. The attack on Belgium drew the British into the war. German troops then turned their attention to the forts around Namur on 20 August, bombarding them with heavy artillery, including the massive Big Bertha (a 420mm siege howitzer). Belgian forces withdrew and the city was evacuated and left to the attackers on 23 August. Magazines at the time such Punch referred to the Belgiums as steadfast in standing up to the Germans but ultimately being flattened by its might – ‘plucky little Belgium‘.

So the card was probably produced in the autumn of 1914. Like Alfred Leete’s famous Your Country Needs You cover from London Opinion, it was a visceral reaction to the war.

Turning back to the card, the detail on the Kaiser’s tunic portrays Belgian troops in front of a church facing cannon fire. One side of the collar depicts a German soldier bayoneting a mother in front of her child. The other side shows a line of troops firing on a fleeing family. The chinstrap depicts three lions.

The helmet shows two French armies with a smaller British force. The helmet’s ‘dome’ turns into howitzers firing at a dove that is falling from the sky, with an explosion to one side and a burning house on the other.

Deatail of moustache as imperial eagle

The nose and moustache become a German imperial eagle on a column, which a British lion is trying to climb. Part of the helmet shows British and French troops

The card was issued as part of the ‘Dainty’ series (possibly from Britain’s first mass-producer of postcards, E.T.W. Dennis) and has an unclear signature at the bottom right: possibly Victor Edmunds Pickup.

Postcard was issued as part of the ‘Dainty’ series (probably from Britain’s first mass-producer of postcards, E.T.W. Dennis) and has an unclear signature at the bottom right: possibly Victor Edmunds Pickup

Postcard was issued as part of the ‘Dainty’ series (possibly from Britain’s first big postcard printer, E.T.W. Dennis) and has a signature at the bottom right: possibly Victor Edmunds Pickup

Most British magazines and postcards did not show out-and-out brutality, instead hinting at illegal actions with slogans such as ‘Remember Belgium’ but French magazines certainly did.

Back of the Kaiser Ravages of War postcard with the 'Dainty series' label

Back of the Kaiser Ravages of War postcard with the ‘Dainty’ series label on the left

Japanese airmen fly Kamikaze into Britain

June 29, 2014
Photograph from the June 1937 issue of Popular Flying showing the two airmen at Croydon airfield at the end of their flight from Japan

Popular Flying magazine (June 1937 issue) showing the two Japanese airmen at Croydon aerodrome at the end of their record-breaking flight from Japan

 

 

 

 

 

Britain and Japan were allies during the first world war. British shipyards had built most of Tokyo’s fleet at the turn of the century, and they were still allies in the 1930s. So, the arrival of two Japanese airmen at Croydon airfield at the end of a record-breaking 10,000 mile goodwill flight from Japan to celebrate the May coronation of King George VI was a cause for celebration in 1937. Popular Flying magazine – edited by ‘Biggles’ author WE Johns – set the tone in its June issue:

‘The end of a great flight. Masaki Jinuma and Kenji Tsukagoshi, the Japanese airmen, arriving at Croydon in their delightfully named aircraft ‘Divine Wind,’ after flying the 10,000 miles from Tokio in 94 hours’

‘Divine Wind’ does indeed sound charming – until you see the Japanese for the name on the side of the aircraft – Kamikaze.

The word was originally used in Japanese folk lore with reference to the supposed divine wind that blew on a night in August 1281, destroying the navy of the invading Mongols.

In 1937, China and Japan were again at war – and that conflict would merge into the second world war after Japan’s attack on Pearl Harbour in 1941. in October 1944, fanatical kamikaze suicide pilots began deliberately crashing their aircraft into allied ships in the Pacific. In all, 47 Allied vessels  were sunk by kamikaze attacks, and about 300 damaged for the loss of 3,000 kamikaze pilots. About one in six planes hit a target.

A Japanese website has a painting of the aircraft, a Mitsubishi Ki-15 Karigane, which served as a reconnaissance plane and light bomber. Parts of the text read:

The exploit led to international fame for the aircraft and was accomplished between 6th and 9th April 1937. The flight was timed to mark the coronation celebrations on 12 May. The plane was the type’s second prototype, which was given the civil designation of J-BAAI for the occasion and named Kamikaze With Masaaki Iinuma as pilot and Kenji Tsugakoshi as navigator, the aircraft flew from Tachikawa to London in 94 hours, 17 minutes and 56 seconds, covering 15,353 km in a net flying time of 51 hours 17 minits and 23 seconds, at an average speed of 160.8 km/h. The flight was sponsored by the daily paper Asahi-Shinbun.

Popular Flying magazine was published on the 22nd of each month by C. Arthur Pearson from its offices in Covent Garden, Tower House in Southampton St, just off The Strand in London. It cost 6d an issue. Pearson’s magazines were owned by Newnes, which later merged into IPC. The printer was Williams, Lea & Co at Clifton House in Worship Street. Other articles described aerodrome holidays, flying over Britain and air holidays abroad. The cover is by Howard Leigh, who illustrated many of the Biggles books.

Popular Flying magazine cover June 1937

Popular Flying magazine cover June 1937

 

 

 

 

 

Oz and Dennis tycoon Felix Dennis dies

June 23, 2014

Felix Dennis, 1960s Oz editor and the man who made Maxim the world’s best-selling men’s magazine died on Sunday. The world will be a less colourful place.

Charlie Bibby's portrait for the FT of Felix Dennis withour his trousers

Charlie Bibby’s portrait for the FT of Felix Dennis without his trousers

Read the obituaries at the Guardian and Financial Times. The Guardian shows Dennis in his ‘throne’ but the FT’s Charlie Bibby picture is much more fun because Dennis has no trousers on.

Also see Lunch with the FT from 2008 and 20 questions for Dennis. The point of being rich? ‘It gives me the time to write poetry, plant trees and commission sculptures.’


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