…let’s do a mock-up of Harry Kane as Michael Caine for the front page! The Euro 2020 quarter-final’s in Rome, so it’s “The Italian Job”, get it? (OK, so The Italian Job was set in Turin, but close enough.)
However, there are deep undercurrents of British popular culture swirling here. Ostensibly, the visual references are indeed to the evergreen heist film – there are the England flags, the patriotic Minis and so on. But the “Harry” of Kane’s name, as well as his lugubrious expression and black-framed glasses, point to a character in a different film altogether – the laconic spy Harry Palmer in one of Caine’s early breakthroughs, The Ipcress File. Charlie Croker, the cheery criminal he plays in The Italian Job, hardly wears glasses at all. And the instantly familiar phrase on which the headline is based – “My name … is Michael Caine” – doesn’t come from a film at all, but from a song. It was a hit for Madness in 1984, with a voiceover by the great man himself, and a video that, again, draws on an Ipcress-ish aesthetic.
All of this probably got processed completely subconsciously by readers: you have to stop yourself to notice that you’re looking at a portmanteau joke comprising two cinematic genres and a pop lyric. And it also happens too quickly for you to remember that The Italian Job ends with the plucky Brits teetering on the brink of disaster and the prize slipping out of their reach. It’s a good thing that didn’t happen on Saturday.
There’s nothing this blog likes more, as a rule, than a vintage front page layout. But perhaps not this one:
There are 19 headlines on the page and they are all the same size, set in sans caps ranged left, centre and right, with the result that (i) huge amounts of unintended white space are created, and (ii) almost every kind of word has to be omitted to make them fit. Not just nouns, although there is a flying verb in there – WILL SING MESSIAH – but verbs (REPUBLICAN NATIONAL CONVENTION AT CLEVELAND) and prepositions (BROTHER DYING CONDITION) too.
The page is presented, more in sorrow than in anger, by Radder and Stempel in the second edition of their book Newspaper Editing, Make-up and Headlines, the 1940s treasure trove of old-school techniques first brought to our attention by HeadsUp for its clear chapter-and-verse about using flying verbs (or as it likes to call them, “implied subjects”). It also contains this spectacular example of overdisplay, or “circus make-up”, from the Denver Post:
I don’t think I’ve ever seen a headline above a masthead before, and in practically the same size type as well.
But what’s most interesting about the many front pages in the chapter is not the layouts, good though most of them are, but something else: the number of semicolon headlines they have. I had previously assumed that these were almost unique to the New York Times, and only then brought out for special occasions, but here – in papers large and small, on busy news days and quiet ones – they seem to be quite a regular thing after all.
This edition of the book was published in 1942, and most of the contemporaneous front pages are war-related. So what these headlines all seem to encapsulate is what we at the Tribune would call a “wrap”: a roundup of the day’s events on a number of fronts without a particularly strong lead item. This is something else the semicolon head is suited for: not just huge stories where every paragraph might deserve its own headline, but long-running stories that require a wider perspective to grasp them fully. Give or take a major breakthrough, it seemed newspapers understood even at the time that the war was so all-encompassing as to only be properly understood in the round.
None the less, it’s interesting to see wrap stories running as front-page leads. At the Tribune, they are very much second-order items, destined for an inside spread; you know when you pick up “polswrap23” from the queue that it can be cut without too much anguish from management.* In 1940s America, it was clearly different: perhaps because the war was always the biggest story in town, like the pandemic is today. Even so, though, modern Fleet Street papers would never settle for a roundup as the splash; in their ferociously competitive market, they would usually try to lead with a single-aspect scoop on Covid, however manufactured it might be, and save the wrap for page seven.
Wherever they end up, though, you’ve still got to write furniture for them, which is another reason to mourn the unpopularity of the semicolon hed. The reductive temptation is simply to write a simple headline based only on the first item in the article. If you try to capture the portfolio nature of the piece, modern practice would be to use conjunctions – “as” or “while”. But these hint at a causative, or at least thematic, relationship between the clauses, when what you really want to do is write multiple, unconnected headlines. Semicolons are perfect for that; if only journalism wasn’t so afraid of them.
*In this respect, wrap stories differ significantly from the blow-by-blow, long-form features that back up major front-page investigations. At the Tribune these are, rather unexpectedly, known as “guts”, meaning that otherwise cardigan-wearing desk editors start sounding like Vince Lombardi when they’re late: “Where’s the gut? Have we got the gut?”
“Sometimes,” says Andrew Marr, halfway through the Sunday paper review, “the best front pages are the ones online.” And he turns to an image of the tabloid Independent.
But of course, as we have previously discussed, the modern Independent front page is a curious thing. It is online, in the sense that it only exists virtually: the paper stopped printing in 2016. But in appearance, concept and execution, it relies on the language of print. It exists almost exclusively to be included in “what the papers say” roundups, where the visual rhetoric of the front page still has greater impact than a web article called up on an iPad. It is not a native digital format: the Independent’s true front page these days is its homepage, which looks very similar to other digital news fronts, and suffers from the same problem of being updated too often and too quickly to ever serve as a snapshot of a calendar day.
Another curious thing about it is that it still looks the same as it did when the paper stopped printing in 2016 – still with a visually dramatic single story next to the distinctive vertical masthead. In fact, that look dates all the way back to 2013; since that time, for instance, the Financial Times, Telegraph and Guardian have all been redesigned. Will the Independent’s digital front page ever be redesigned as well? Or will it have to stay as it is, fossilised by the necessity of reminding viewers of the time when it was a newspaper too?
What can you tell from these front pages, just by looking? They’re very design-conscious, with that vertical masthead; socially left-leaning, judging from the columnists in the skybox; highbrow, judging by the news stories, in a broadsheet-turned-tabloid way. Oh, and none of them are real.
In March 2016, the Independent’s owners gave up producing a print newspaper altogether and went online-only. But ever since, they have produced a facsimile front page, entirely for distribution online, in the style of their last ever edition. Look closer and you notice that there is no issue number or price in the masthead. In real life, the bylines, captions and body text would be disproportionately big, like a large-print book; but that improves their legibility on screen, which is the only place they will be ever be read.
