The History of the Times: The Murdoch Years

The turf war between Evans and Frank Giles continued for several days, the latter resenting what he regarded as his predecessor’s aggressive attempt to poach so many of his old paper’s best staff. Giles tried to hold on to Peter Stothard but Evans was adamant that his young protégé should join him. Despite another appeal from Giles to Murdoch, Evans got his way and Stothard became deputy features editor.[124] Features was one of the areas Evans wanted to see given more emphasis and it promised to be a key role in the new paper. Assisted by Nicholas Wapshott, Stothard would work with the new features editor, the thirty-two-year-old Washington correspondent of the Observer, Anthony Holden. After persuading Holden – a renaissance man whose interests ranged from poker to writing libretti for opera – to join The Times, Evans held out to him the prospect that he would succeed him as editor … in good time.

Other senior changes were also made. Fred Emery, who had been reporting from the world’s various trouble spots for The Times since 1958, became home news editor. In Douglas-Home’s place as foreign editor, Evans put the former editor-in-chief of Reuters, Brian Horton. Sir Denis Hamilton’s son, Adrian (who had been at the Observer), was brought in to run business news in succession to Hugh Stephenson who decided it was time to cut his losses and leave. The following year he became editor of the New Statesman. The other disappointed candidate for the editorship, Louis Heren, was given a ‘roving brief’ as an associate editor. This soon proved – to Heren’s distress – to be something of a non-job.

In the event of both Evans and Douglas-Home being out of the office, the acting editor was to be Brian MacArthur. Responsible for news content and its subediting, he was to be the bridge between the day planning and the night editing. MacArthur was already an immensely experienced journalist. Before Evans brought him over from the Sunday Times, he had worked at the Yorkshire Post, The Times (as news editor) and the Evening Standard. He had also been the founding editor of the Times Higher Education Supplement. These were precocious achievements that Evans admired in a man he thought vaguely resembled ‘one of those eighteenth century portraits of a well-fed Cardinal’.[125]

Another key addition to Evans’s kitchen cabinet was Bernard Donoughue. The son of a metal polisher in a car factory, Donoughue had gone on to be a policy adviser to Harold Wilson and James Callaghan and was part of the new meritocracy with which Evans felt most at home. Evans wanted Peter Riddell to join the political team under Donoughue’s direction. This would have been a powerful infusion of talent, but not even a generous salary could at that stage tempt Riddell away from the Financial Times.[126] However, ballast was added when David Watt, director of the Royal Institute of International Affairs and a former political editor and Washington correspondent of the FT, was hired to write a weekly column on political and foreign affairs.

It was also necessary to tickle the public. Evans brought in Miles Kington to write what he suggested should be a ‘Beachcomber-Way of the World’ column.[127] Located on the Court & Social page, the column, entitled ‘Moreover …’, began its Monday to Saturday run in June. Although only 450 words long, it was a tall order for Kington to maintain a daily output of whimsy and a tribute to his skills that he so frequently carried it off week in, week out, for the next five and a half years. It immediately attracted a devoted following, except among its targets. The Welsh trade unionist Clive Jenkins was not amused about a Kington joke that appeared to encourage Welsh Nationalists to burn his house down. Jenkins was furious, demanded an apology on the Court page and assured Evans, ‘My lawyers and the police do not think it is “a joke” and as a result we now have surveillance of my home and office.’ Evans advised him to stop drawing so much attention to the supposed incitement. But to Anthony Holden Jenkins fumed, ‘Who edits Miles Kington?… There are some jokes which are so off that they should never be published.’[128] Meanwhile, Mel Calman continued to raise a smile with his distinctive front-page pocket cartoons, as he had four days a week since 1979. But the editor was deluged with complaints when he put caricatures drawn by Charles Griffin at the head of the day’s prominent person’s birthday column. For some, a cartoon on the Court & Social page was further proof of The Times’s apostasy although many of those featured were delighted and asked if they could purchase the original.

The introduction of a resident political cartoonist caused more prolonged debate. Ranan Lurie was an Israeli born US citizen who had trained with the French Foreign Legion and been dropped behind enemy lines in the Six Day War. Having worked for Life, Newsweek, Die Welt and Bild, he was the world’s most widely syndicated political cartoonist. Like Vicky in Beaverbrook’s Express newspapers, Lurie’s cartoons often created a dynamic tension by taking a different angle on politics from that being proposed elsewhere in the paper. His draughtsmanship was excellent, his small, rotund figures especially suited to depicting ‘hard hats’ enjoying a bit of military brinkmanship. But inevitably he was not to everyone’s taste, particularly those who believed his art trivialized the news pages on which they were carried. Evans had far more consistent success with the appointment that also gave him the greatest satisfaction. This was the arrival of the relentlessly droll Frank Johnson as parliamentary sketch writer. When it came to material, the House of Commons of the early eighties was to provide Johnson with an embarrassment of riches.

Amid these arrivals came a major departure. Bernard Levin was the most famous columnist on the paper. One of the enfant terribles of the sixties satire boom (he was the subject of a famous attempted physical assault while presenting That Was The Week That Was, his assailant seeking revenge for a supposedly cruel review of his wife’s acting talents), Levin combined a sharp intellect, high-culture sensibilities and a talent for upsetting the full range of vested interests, be they union barons or barristers. Scarcely a week went by without Levin ‘going too far this time’. But he had the support of the one person who mattered – the editor. Rees-Mogg had persuaded him to become a Times columnist in 1971, ultimately taking the view that ‘he alone has the ability to resist the gentle English equity which sometimes drifts like desert sand from one column to the next’.[129] He was not really, therefore, a Times man in the established sense of the term and various of the offended vested interests got their revenge by blackballing him from the Garrick Club, where Rees-Mogg was a member.

Evans admired Levin’s vituperative prose, if not his ability to punctuate it. Comparing the length of his sentences to ‘the corridors of a Venetian palace’ Evans failed to persuade him to make more concessions to readers’ mental stamina.[130] But the greatest exertion fell upon Levin himself whose column appeared on Tuesdays, Wednesday and Thursdays (he also wrote for the Sunday Times). He needed a rest, or at least a lightening of the load. His decision to take a break suited Evans’s new features editor, Anthony Holden, who was keen to introduce new blood.[131] Nonetheless, in his final column, Levin helpfully reassured his readers:

My decision is in no way based on any disquiet on my part at the change of editor or proprietor, nor on any lack of confidence in the paper’s future, and anyone saying or writing anything to the contrary is, and for all material purposes should be treated as, a liar.

It would not be long before Evans would be pleading with Levin to return. But by then the trickle of famous names from the Rees-Mogg era departing the paper had turned into a flood.

III

On his twenty-first day in the chair, Evans got his first major test on how to handle a major breaking story for The Times. During the evening of 30 March 1981 news came through that the American President, Ronald Reagan, had been shot. Evans raced back to Gray’s Inn Road and immediately assumed control. His direction proved masterful.

The front page was given over to the story in its entirety (previously even the most momentous news was mixed with other front-page lead stories and continued elsewhere inside the paper). Three sequential picture strips caught like a cine-freeze frame effect, Reagan turning to face his assailant and then going down as he was hit. The headline was itself a cliffhanger: ‘President Reagan shot: bullet still in lung’. The subheading quoted Reagan’s plucky comment to his wife; ‘Honey, I forgot to duck … don’t worry about me I’ll make it.’

Evans’s dramatic cover was certainly different from the front page of The Times on 23 November 1963 which – with classified adverts still on the front page – merely carried a small three-word ‘President Kennedy Assassinated’ note at the top right of the paper’s masthead. Predictably, some traditionalist readers wrote to complain at what they regarded as Evans’s sensationalist, almost tabloid, front page. But had they to hand a Times copy of the death of Kennedy they might have been surprised. Although the news of the Kennedy assassination had appeared on page eight (because that was where foreign news was then to be found, regardless of its importance) the actual page layout was surprisingly similar, complete with an action photograph of a security guard leaping on the back of the dying President’s car with Mrs Kennedy tending to the slumped figure of her husband. Another photograph showed, closeup, the look of shock on New Yorkers’ faces as they learned the news from a tele-type machine in a news agency office window.[132] It was true that Evans ran the headline across the width of the page, whereas in 1963 it had followed the separate column spaces, but this was the only major cosmetic difference. The story’s treatment – narrative of the shooting, history of past presidential assassinations, the reaction of world leaders, the next in line – was remarkably similar between 1963 and 1981. Evans merely had the advantage – denied his predecessor – of being able to splash it across a front page.

Unlike Kennedy, Reagan did not die and, by the night’s last edition, the headline had been amended to the more hopeful if less dramatic ‘Bullet removed from lung’. Nor would the story spawn an industry of conspiracy theories. By 2 April, the paper was in a position to report that the would-be assassin, John Hinckley, was a troubled obsessive, intent on killing the President as a means of proving his (unsolicited) love for the eighteen-year-old-actress Jodie Foster.[133] But if the shooting proved, by a matter of centimetres, not to be a turning point in world politics, it provided the first example of Evans’s ability to capture the drama of breaking news and present it in an effective manner. It was commonly agreed across Fleet Street that The Times had excelled.

For an editor with an eye for presentation on the page, improving the paper’s layout was an immediate priority. Frequently, readers had turned the front page to find a full-page advertisement greeting them on page three. Although this was a prime commercial site, it did not convey the impression that the paper was serious about conveying hard news. When, in 1966, classified ads had finally been taken off the front page, they were moved to the back page. They had remained there ever since. Evans questioned whether such a prominent part of the paper should be given over to small ads for budget travel brochures, secretarial courses and personal announcements. With Murdoch’s support, page three was henceforth given over to news while Evans proposed something new for the back page. It was important that the crossword stayed in the bottom left-hand corner where, with paper folded, it could be easily attempted by those lunching on park benches or being jiggled about in congested train compartments. But besides retaining this, the back page was now to be divided in two. The top half would continue main stories carried over from the front page (again, this was easier for tightly packed commuters) alongside the column designed most to sparkle and entertain – Frank Johnson’s parliamentary sketch. In the bottom half, Evans introduced what was christened ‘The Times Information Service’. This was a daily almanac of eclectic information: weather forecasts, a brief digest of what other newspapers were saying, opening hours for historic houses, even, for some reason, London restaurants offering al fresco dining facilities (there appeared not to be very many of these). ‘There is nothing like it in the British press,’ Evans boasted, ‘it is, indeed, another example of The Times, as so often in its history, being the first.’[134]

But there was not a stampede to follow. The quirkiness of the Information Service was both its attraction and, sometimes, the reason for its impracticality. Private Eye, the satirical magazine with a mission to persecute Evans whenever opportunity presented itself, tried to sabotage it by encouraging its readers to enter a ‘Useless Information Competition’. The Eye would pay £10 for each attempt to mislead The Times with bogus submissions and add a £5 bonus if the paper actually printed it. On more than one occasion, this childish exercise succeeded, very much to Evans’s exasperation.[135]

In overall charge of the redesign was Edwin Taylor, previously Evans’s design director at the Sunday Times (for which he had won the 1980 Newspaper Design Award). Another recruit from the Sunday Times, Oscar Turnill, joined him in the task with Brian MacArthur and Tim Austin, the home news subeditor, assigned to help in the section reorganization. Predictably, there were letters of complaint from readers who regarded any alteration to be, by its very nature, for the worse. Evans found what he called ‘this outcry from the more settled members of the community’ rather tedious, not least because many of the layout alterations were, if anything, taking the paper back to the ‘light face’ traditions of Stanley Morison who had established the classic look of the paper in 1932 and invented the world’s most popular typeface, Times New Roman.[136] Evans delighted in writing back to the small legion of detractors in order to point out their foolishness with a brittleness that suggested sensitivity to criticism. ‘I suspect that if we changed to printing on gold leaf paper there would be murmurs of disapproval in the clubs,’ he told one complainer.[137] On occasion, he even took to telephoning his assailants. One of these turned out to be a dentist who was in mid-operation when his receptionist interrupted him with the news there was an urgent call for him on the phone. The patient was then left, mouth stuffed with cotton wool, while his dentist discussed the principles of newspaper layout with the editor of The Times.[138]

The next innovation was the introduction of a Friday tabloid section entitled Preview. Given the accolades later heaped upon the Guardian’s G2 (which The Times eventually copied with T2) tabloid section, Preview was ahead of its time. Covering forthcoming arts and entertainments, it was geared, in particular, to the younger end of the market and was perfectly launched in June 1981 to coincide with a strike at Time Out magazine. While falling within Anthony Holden’s empire, its driving force was a former Time Out journalist, Richard Williams. Evans was delighted with Williams’s work and marvelled that Murdoch had given the project financial backing after only a single brief meeting, a speed of decision making that Evans contrasted favourably with the months it took to approve innovations from the Thomson Organisation.[139]

In the month that Preview was launched The Times axed its least successful section. Europa was a monthly journal, largely comprising economic stories and ‘business profiles’ that was produced jointly with Le Monde, La Stampa and Die Welt on the first Tuesday of every month. The Times had got involved in 1973. Britain had joined the EEC and Rees-Mogg was at that stage a firm enthusiast for the process of European integration in which political institutions were not enough – The Times proclaiming that ‘Europe need a European press’. The fact that Europa proved to be a patchwork of almost hypnotic dullness did not disqualify it from winning the 1978 Zaccari prize for spreading EEC ideals. But idealism and economics were not compatible partners and it brought Gray’s Inn Road nothing but losses. The plug was pulled in June (July was the final issue) 1981 after the previous issue had managed to carry no advertising whatsoever. The jilted European papers then approached the Guardian as a replacement for The Times. When the Guardian politely declined the whole project was wound up.[140]

The demise of Europa went largely unnoticed, evidence, if any were needed, that it should have been wound up years before. More successful – at least at generating revenue – were the sections produced by the Special Reports team. These usually appeared (especially throughout the winter months) twice a week. Around one hundred appeared a year, totalling 650 pages. Most related to holiday or investment opportunities in foreign climes and had a function in attracting advertising that would not otherwise have reached The Times.[141]

There was one major news occurrence for which the newspaper had ample time to prepare. The wedding of Charles, Prince of Wales, to Lady Diana Spencer was to be the event of the year in Britain, a moment of romance and glamour in which momentarily to forget the country’s deepening recession. It would be the first marriage of a Prince of Wales for more than a century and only the seventh in almost six hundred years. Evans was determined that The Times’s coverage would outclass the competition. In this he had an ally in the proprietor. Putting aside his republican inclinations, it was Murdoch who came up with the idea of having a fullcolour front page for the paper’s royal wedding edition and to publish a souvenir magazine.[142]

The result was a sixty-four-page glossy ‘royal wedding’ magazine. This was not as profligate as might seem since it attracted twenty-five pages of advertising suitably tailored to the occasion: the new video recording machines, the Vauxhall Royale (available in saloon or hatchback), jewellers, Harrods and a back page emblazoned with the bright livery of Benson & Hedges. It was the first time The Times had produced a colour magazine and, once again, when looking to innovate Evans had turned to his previous paper for the personnel to achieve it. George Darby, associate editor of the Sunday Times Colour Magazine, had led the nine-strong production team. Given away free with the paper the day before the wedding, all half a million copies were snatched up. ‘If we had printed a million,’ Evans declared, ‘we’d have sold the lot.’[143] But it was not the first time The Times had given away a royal souvenir: in 1897 it had marked Queen Victoria’s Diamond Jubilee with a commemorative plate – colour-printed in Germany.

It was on the day of the wedding that the paper achieved its real coup. All newspapers then printed in black and white since none of the Fleet Street machine rooms could handle full-colour reproduction on standard newspaper runs. But The Times had an alternative plan to dish its monochrome competitors. The photographer, Peter Trievnor, was engaged to catch the bride and groom as they emerged from the great west door of St Paul’s Cathedral. With the precision planning of a crack assassin, he lay in wait for them from a seventh floor window in Juxon House, one of the ugly sixties office blocks then rudely jostling the Cathedral. It was calculated that he would only have a few seconds during which the royal couple would be in range. He had previously had two trial runs from the same vantage point on previous days in order to get it right. Even still, the margin for error was considerable especially given the happy couple’s unerring ability to wave in a way that obscured one or the other’s face. In the event, he managed to get eight shots in the few seconds in which the Prince and Princess passed the chosen spot.

Having taken what he hoped would be the photograph at 12.10 p.m., Trievnor raced to the foot of the building where a motorbike was waiting to collect the film. Once processed, it was hurried to Gray’s Inn Road where Evans and the design director, Edwin Taylor, selected the image they wanted. The transparency was then biked to where the colour separations were done and from there – by now coming up against heavy post-wedding traffic – to Battersea Heliport. It was mid-afternoon and Reg Evans, the paper’s head of editorial services, took it by helicopter to Peterborough where East Midlands Allied Press pre-printed the colour pictures onto reels. These reached Gray’s Inn Road at 10.18 p.m. Feverishly the reels were fitted. But they did not work. The registration was terrible and there was static on the newsprint. Anxious moments passed until eventually the quality improved. In time, it was running perfectly and at 1.30 a.m. the first colour front page of The Times – indeed, of any national broadsheet – rolled off the press.

The result caused a sensation. The paper was a sell-out. A telegram arrived at Gray’s Inn Road – ‘Congratulations on a great technical achievement and a beautiful paper this morning. Gavin.’[144] It was from Lord Astor whose newspaper The Times had been until 1966. Actually, the revenue from higher sales was cancelled out by the cost of printing in colour, but it might prove merely a loss leader if it gained permanent converts to the paper. The circulation figures for August (which included the royal wedding edition) showed the paper’s circulation had leapt to 303,000, up from 268,797 the same time the previous year.[145] What remained to be seen was whether this was a one-off wedding bonanza or a movement that could be sustained.

One change that the wedding brought that did stay was on the paper’s masthead. From the first edition in 1785 until 1966 The Times’s masthead had borne the royal coat of arms, but this had fallen victim to ‘modernization’ when the paper was redesigned to carry news on the front page. The presence of the royal arms had accentuated the uneven lengths of ‘The’ and ‘Times’ and made the masthead appear off-centre at the top of the page. Stanley Morison had wanted to remove it in 1932 but was dissuaded by the strong opposition of John Walter, scion of the paper’s founder, who still held shares in the company.[146] But the eventual exclusion of the device was a doubtful improvement since it made the paper’s masthead excessively austere and bare. Evans had intended to revive the royal arms for the paper’s two hundredth anniversary in 1985 (he had little doubt he would still be in the chair for it) but the huge acclaim from staff and readers to his inclusion of it on the royal wedding edition convinced him that it should stay there forthwith.

In fact, The Times had no more right – and never had – to carry the royal arms than any other newspaper. It did not have the necessary royal warrant, a point the College of Arms had, with ineffectual menaces, periodically brought to the editor’s attention. Although there was some inconsistency over the years, the paper had tended to use the royal arms of the day, but Evans decided to go back to the original coat of arms of King George III. It is this set of arms – complete with the white horse of Hanover in the bottom right quarter – that has graced each edition of the paper since 1981.

With Gray’s Inn Road awash with self-congratulation and the royal couple sailing away on Britannia for their honeymoon, Evans chose his moment to slip out of the country for a three-week holiday. He had scarcely rested since his appointment and most impartial observers could only conclude his opening months had been a success, speckled with moments of triumph. In fact, he too was off to get married.