The thing about "Time Out" was that having observed how printers work I then brought what was traditionally regarded as about half of their work into the office. This was through litho. If you do one dot on white paper with a black pen it will print; if you do lots of dots they'll print too. So why can't I make a screened photograph and stick it on a piece of paper in my office and cut it out as I want and draw on it as I want...? So I got a small plate-making process camera and started making screen bromides, which had never been done inside a magazine before. So I could keep the pages of the magazine in the building right up to the very last moment. right up to the print deadline, then they were zoomed over to the printers. I never had to go to the printers ever. Apart from looking after the look of the thing and laying out the artwork, my role was to organise the logistics of the whole thing. Giving people different deadlines to make sure that the pages went off in the right order, that sort of thing. That had nothing to do with how pretty it looks, but when it comes out you're only judged on how pretty it looks. But I was more the editor of "Time Out" than many of those who were listed as such. Information about all the stuff that had come out of the late 60s - the fringe theatre, the rock clubs, the independent films - needed organisation and I was able to encompass the content of the underground and put it into a form that had nothing to do with the underground."
The interview texts are from
"Days in the Life: Voices from the London Underground 1961-71" by Jonathon Green,
used here with permission. Any reproduction is prohibited without permission from the author.
Days in the Life excerpts © Jonathon Green
contact: Phil Franks (freax AT arrakis.es)
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