Whose power?
Patrick Mam ham
Newspaper proprietors are businessmen who want to feel more important, That, writes Simon Jenkins who was recently fired by one of them, is the basic reason for the present state of Fleet Street.
In his book Newspapers, the Power and the Money (Faber £1.95) Mr Jenkins, the former editor of the Evening Standard, absolves the union of any blame for the losses, stoppages and quality of the national press. His argument in summary seems to be as follows. Fleet Street's major problem is its inefficiency and unprofitability. These are largely caused by its extraordinary labour practices. These have grown up because skilled craftsmen who are opposed by weak and divided management's have seized every opportunity to improve their living standards. The managements are weak because national newspapers are not run on sound commercial lines. Instead they are acquired by snccessful businessmen who seek publicity or political influence, and who are prepared to draw on their more profitable ventures to pay for their pleasure.
The proprietor who dismissed Mr Jenkins was Victor Matthews, and Mr Matthews's arrival in Fleet Street is described to illustrate the point. Inside the Express building the senior executives waited to greet their new employer. But when Mr Matthews arrived it was to find the lobby crowded with television cameras and interviewers. They proceeded to enquire about his political views. 'Mr Matthews was a building contractor by trade and had been offered few chances to give his views on the state of the world before.' He was apparently enjoying himself so much that when they asked him to drive round the building and arrive again, for better television effect, he was delighted to do so.
In the days that followed Matthews would summon the editor of the Daily Express and pour out his home-spun wisdom on life and affairs, frequently at the busiest time of the day. 'This would sometimes have to be recreated by a journalist in the form of an editorial'. Then Mr Matthews began to lead a more active social life and when people spoke to him about his paper he felt encouraged to take a closer interest in its contents. At one point he became so embarrassed by the William Hickey column that he considered stopping it. One story from this period is not included. Matthews was particularly angry about an item in Hickey which had been printed because it was thought to be funny. Accordingly the gossip chief was summoned to see Matthews together with the Express editor, Derek Jameson, who promised to back Hickey up. After Matthews had blown his top and William Hickey had explained that the story was supposed to be amusing, Mr Jameson was asked what he thought. 'Well,' said Derek gloomily. 'I suppose it was quite funny.' But, he added with sudden inspiration, 'he was a c. . . to put it in'. That settled, the serious business of producing the Daily Express could continue.
Another area which the book covers with admirable clarity is the system whereby the printing staff are paid, ('bribed' might be a better word). 'Fat' is money paid for work which is not carried out because it has been done outside the office by printers who are better equipped to do it. 'Blow time' is the extensive daily resting period which is paid for. 'Cut' is the time when a printer cango home early without losing any money. After a while 'blows' and 'cuts' are not taken when the production schedules call for them, but are built into every agreement so that other men have to be hired to cover for those who are on 'blow' or 'cut'. Then there is the very beautiful concept of the 'ghost shift'. When overmanning was even heavier than it is now many men were sent home if the workload was light, but they were of course paid in full. Then when the workload was heavier again there would be demands for 'more men'. These new men did not exist, but the extra money was handed out to the regular staff who simply worked rather than going home.
Anyone still baffled by these goings-on should turn to another new book on Fleet Street, Newspaper by Penny Junor (Macdonald L2.50). Whereas Mr Jenkins adopts the straight approach Miss Junor has produced an excellent satirical picture of the industry. Her book is disguised as a heavily illustrated educational guide for school leavers, but it has hidden depths. For instance, the description of fashion writing. 'Fashion writers on the bigger newspapers very often train on fashion magazines. The work is hard . . . 'Or the critic. 'The critic's job is to write helpful criticism — helpful to the artist and helpful to the reader. He often has to work odd hours visiting theatres or restaurants'. And, 'Editors get together at the morning conference to discuss what each department plans to write about for the next day's paper', is an excellent caption for a picture of the editor of the Sunday Times apparently surrounded by six pairs of thoughtful editorial heels.
Then there is the labour manager. His morning is spent 'in deep discussion with the leaders of the electrician's union about shorter working weeks and a new pay deal. They will be there for some time'. Probably for the rest of their lives. And one must not forget the managing director, 'who is lunching with the chairman of a large motor company with which he is hoping to do a special promotion. The paper is planning to sponsor one of the company's cars in a round-the-world race'. Very droll.
There is another point of view about the trouble with Fleet Street which is to be found in neither of these books. It may be that the problem has little to do with the ambitions or vanity of proprietors. Nor is it caused by extortionate unions or outdated technology. The real trouble with the national press is that the people who run it and write it have forgotten what they are supposed to be doing. Everyone wants to control the press. Party politicians, civil servants, trade union leaders and big business all want to bend the press to suit themselves. But the only people who have a right to control it, and the only people who can provide an honest press, are the journalists. Because so many good journalists are prepared to spend their lives making even more money for Rupert Murdoch, or transforming the thoughts of Victor Matthews into grammatical English, or parrotting the political fantasies of almost any clown who turns up waving a cheque book, that is why the press is in such a rotten state. Newspapers remain far and away the best means of publicising events. No television programmes, no electronic print-outs, no foreseeable technical break-throughs, can rival them at that. All that is wanting is a belief in the power of the written word, and enough honest men to write it.
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