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The short life and swinging times of London Life Magazine The short life and swinging times of London Life Magazine
(8 days later)
Fifty years ago this month, a magazine called London Life burst on to the scene and burned brightly for the briefest of moments. The magazine rose from the ashes of Tatler, which had been a flagship for six decades but by 1965 was considered stiff, starched and passe. Lucinda Gosling, from the Mary Evans Picture Library, looks back on London Life's time on the newsstands.Fifty years ago this month, a magazine called London Life burst on to the scene and burned brightly for the briefest of moments. The magazine rose from the ashes of Tatler, which had been a flagship for six decades but by 1965 was considered stiff, starched and passe. Lucinda Gosling, from the Mary Evans Picture Library, looks back on London Life's time on the newsstands.
Today, all that is left of this unique slice of the 60s is five volumes bound in unassuming pale blue on a shelf in the Mary Evans Picture Library, part of the Illustrated London News archive. Yet even the briefest flick through any one of these volumes is an invitation to enter a world so quintessentially "60s" it would be cliched if it were not so cool.Today, all that is left of this unique slice of the 60s is five volumes bound in unassuming pale blue on a shelf in the Mary Evans Picture Library, part of the Illustrated London News archive. Yet even the briefest flick through any one of these volumes is an invitation to enter a world so quintessentially "60s" it would be cliched if it were not so cool.
Four pages of photographs of the London Life party, held in the newly opened Post Office Tower (now the BT Tower) in May 1966, is visual evidence of a guest list - David Bailey, Jane Asher, Nubar Gulbenkian, Peter Blake, David Hockney, Mick Jagger - that reads like a Who's Who of the Swinging '60s.Four pages of photographs of the London Life party, held in the newly opened Post Office Tower (now the BT Tower) in May 1966, is visual evidence of a guest list - David Bailey, Jane Asher, Nubar Gulbenkian, Peter Blake, David Hockney, Mick Jagger - that reads like a Who's Who of the Swinging '60s.
The magazine's editor was Mark Boxer, cartoonist, social commentator and founding editor of the Sunday Times magazine, with a young man called David Puttnam as managing editor. Photographic contributions came from Terence Donovan, Ron Traeger and Brian Duffy, while Gerald Scarfe caricatured The Beatles in one issue and Bailey in another.The magazine's editor was Mark Boxer, cartoonist, social commentator and founding editor of the Sunday Times magazine, with a young man called David Puttnam as managing editor. Photographic contributions came from Terence Donovan, Ron Traeger and Brian Duffy, while Gerald Scarfe caricatured The Beatles in one issue and Bailey in another.
The main fashion editor was Peggy Roche, who was hired from Elle magazine in Paris, though Jean Shrimpton was an occasional guest fashion editor with her male counterpart, Terence Stamp, and a young artist by the name of Ian Dury drew a picture of Tony Bennett for one of the front covers. The main fashion editor was Peggy Roche, who was hired from Elle magazine in Paris, and Shuna Harwood, who went on to become an acclaimed film costume designer, joined as assistant. Jean Shrimpton was an occasional guest fashion editor with her male counterpart, Terence Stamp, and a young artist by the name of Ian Dury drew a picture of Tony Bennett for one of the front covers.
Peter Akehurst and John Benton-Harris were both staff photographers on the magazine for its brief life. Both can list an impressive number of famous names who passed in front of their lenses. Each may have had his speciality, but the reality was that a London Life photographer had to be ready to go wherever the editor sent them at a moment's notice.Peter Akehurst and John Benton-Harris were both staff photographers on the magazine for its brief life. Both can list an impressive number of famous names who passed in front of their lenses. Each may have had his speciality, but the reality was that a London Life photographer had to be ready to go wherever the editor sent them at a moment's notice.
Akehurst says it was not unusual to do more than 10 jobs a day. "We just used cabs to get around," he recalls. It was a gruelling schedule for anybody, and one that, admits Akehurst, did not impress his wife at the time.Akehurst says it was not unusual to do more than 10 jobs a day. "We just used cabs to get around," he recalls. It was a gruelling schedule for anybody, and one that, admits Akehurst, did not impress his wife at the time.
Now in their 60s, they remember their time at London Life with a mix of nostalgia and modesty. Akehurst recalls that when he heard of the position going at a new magazine, he met David Puttnam and was told to go and shoot a photographic assignment on whatever he liked, to test his mettle. He photographed some of the Gypsies in an encampment near his Hackney studio and was immediately given the job.Now in their 60s, they remember their time at London Life with a mix of nostalgia and modesty. Akehurst recalls that when he heard of the position going at a new magazine, he met David Puttnam and was told to go and shoot a photographic assignment on whatever he liked, to test his mettle. He photographed some of the Gypsies in an encampment near his Hackney studio and was immediately given the job.
Puttnam advised him to visit Leopold's and buy himself the new 35mm Pentax camera, and to choose whatever lenses he required. Akehurst remembers feeling very much like the kid in the proverbial sweet shop. Things seemed to get even better when he was then instructed to share a rooftop studio with Lord Snowdon ("Call me Tony"), whom Akehurst describes as "a really nice guy".Puttnam advised him to visit Leopold's and buy himself the new 35mm Pentax camera, and to choose whatever lenses he required. Akehurst remembers feeling very much like the kid in the proverbial sweet shop. Things seemed to get even better when he was then instructed to share a rooftop studio with Lord Snowdon ("Call me Tony"), whom Akehurst describes as "a really nice guy".
Satisfyingly, the photographers' experiences on the magazine tick many boxes, fulfilling our expectations of what it might have been like to be a photographer on such a magazine at such a time. Akehurst remembers a whisky-fuelled day with Richard Harris when the first bottle of Scotch was opened at 09:00, admitting: "I didn't remember much after that".Satisfyingly, the photographers' experiences on the magazine tick many boxes, fulfilling our expectations of what it might have been like to be a photographer on such a magazine at such a time. Akehurst remembers a whisky-fuelled day with Richard Harris when the first bottle of Scotch was opened at 09:00, admitting: "I didn't remember much after that".
Benton-Harris once took his camera to The Pair of Shoes, a Mayfair nightclub, the result of which is a picture of James Garner at the blackjack table, looking downcast having just lost a four-figure sum. Benton-Harris ended the evening chatting to a rather sozzled Lee Marvin. The next day he was playing baseball with the cast of The Dirty Dozen, who were filming in England.Benton-Harris once took his camera to The Pair of Shoes, a Mayfair nightclub, the result of which is a picture of James Garner at the blackjack table, looking downcast having just lost a four-figure sum. Benton-Harris ended the evening chatting to a rather sozzled Lee Marvin. The next day he was playing baseball with the cast of The Dirty Dozen, who were filming in England.
The picture editor, Diana Dare, became Diana Donovan when she married Terence Donovan, having met him for the first time at London Life. She describes her job as "a very steep learning curve", challenging but fun too.The picture editor, Diana Dare, became Diana Donovan when she married Terence Donovan, having met him for the first time at London Life. She describes her job as "a very steep learning curve", challenging but fun too.
Donovan took a photograph of her with Akehurst during their London Life period. She recalls it was the very first photograph her future husband took of her. They are all in raincoats and wearing wellington boots for a fashion feature, coerced in front of the camera, explains Diana, because the magazine couldn't afford models.Donovan took a photograph of her with Akehurst during their London Life period. She recalls it was the very first photograph her future husband took of her. They are all in raincoats and wearing wellington boots for a fashion feature, coerced in front of the camera, explains Diana, because the magazine couldn't afford models.
Yet sadly the dream team that launched the magazine did not last long. David Puttnam, now Lord Puttnam departed in late 1965 together with Mark Boxer. Hillman followed shortly in the new year and returned to the Sunday Times.Yet sadly the dream team that launched the magazine did not last long. David Puttnam, now Lord Puttnam departed in late 1965 together with Mark Boxer. Hillman followed shortly in the new year and returned to the Sunday Times.
Their replacement was a Scot called Ian Howard, a Fleet Street old hand who came to London Life from the Daily Sketch. Diana Donovan describes him as "a force".Their replacement was a Scot called Ian Howard, a Fleet Street old hand who came to London Life from the Daily Sketch. Diana Donovan describes him as "a force".
The huge datelines that characterised the early covers disappeared. And although the magazine's content and remit remained more or less the same, the mood in the team had changed and morale was low.The huge datelines that characterised the early covers disappeared. And although the magazine's content and remit remained more or less the same, the mood in the team had changed and morale was low.
Eventually, having been given one 12-hour shift too many, Akehurst threw in the towel and quit just before Christmas in 1966. His timing couldn't have been better. In the new year, staff returned to the office to be told that the magazine was closing with immediate effect.Eventually, having been given one 12-hour shift too many, Akehurst threw in the towel and quit just before Christmas in 1966. His timing couldn't have been better. In the new year, staff returned to the office to be told that the magazine was closing with immediate effect.
Benton-Harris, with a prescience which characterises his work, and an instinctive feel for what was a "moment" in time, was the last to leave the office. Setting up his camera low to the floor he took a self-portrait. He is leaning against the back wall ,where a board hangs displaying a grid of some of the photographers' final assignments.Benton-Harris, with a prescience which characterises his work, and an instinctive feel for what was a "moment" in time, was the last to leave the office. Setting up his camera low to the floor he took a self-portrait. He is leaning against the back wall ,where a board hangs displaying a grid of some of the photographers' final assignments.
Smoking a cigarette and looking philosophical, the detritus of a hastily abandoned office surrounds him, giving the picture a certain poignancy. It is the end of an era, if such a short period of time could justify the description.Smoking a cigarette and looking philosophical, the detritus of a hastily abandoned office surrounds him, giving the picture a certain poignancy. It is the end of an era, if such a short period of time could justify the description.
Photographs © Illustrated London News/Mary Evans Picture Library except where noted.Photographs © Illustrated London News/Mary Evans Picture Library except where noted.