Sexual Freedom & Women’s Liberation:

The ‘cultural revolution’ had a profound effect on sexual behaviour in general, and on women in particular. Sex before marriage became less taboo (one-third of young women were pregnant when they married), and there was a general feeling of increasing sexual freedom at various levels in society, which was made a reality through the advent and growing availability of the contraceptive pill from 1962. Women’s liberation also took off, leading to the victory of the Equal Pay Act in 1970. Until that, equal rights and feminism only really touched the surface. There was still a long road to travel on this, however. Too many workplaces were utterly unwelcoming of women wanting work. Too many memoirs recount the gross sexism of the new rock stars, not to mention the abuse of young women and children by a small number of prominent pop celebrities, more recently uncovered in police investigations. ‘The Pill’ might have arrived, and the Abortion Act became law in 1967, but this was still a time of ‘unwanted’ pregnancies, ‘unmarried’ mothers and gross domestic violence being administered by drunken men. Yet the philosophical principles of egalitarianism were gradually weaving their way into social change. Traditions of submission and obedience, together with hierarchies of class and gender based on medieval property rights, industrial capital and imperial administration, began to wobble and dissolve into a society which was more dilute and porous. This was not so much because ‘revolutionaries’ ushered in an age of personal freedom, but more generally because it suited a new economic system based on consumer choices.

In domestic life, two-thirds of families acquired labour-saving devices such as refrigerators and washing-machines. There was a growing ‘snappiness’ and lightness of design, in everything from the cut of clothing to the shape of cars, an aesthetic escape from the gravitas of the post-war period of austerity. But among the population as a whole this was a gradual transformation, experienced in a continuum, not as a revolution. The process was somewhat accelerated among the younger generation.  The real earnings of young manual workers had grown rapidly in the early sixties, creating a generation who had money to spend on leisure and ‘luxury’ goods. The average British teenager was spending eight pounds a week on clothes, cosmetics, records and cigarettes. In London, King’s Road and Carnaby Street became the haunts of this generation. Their attitude is summed up by the designer Mary Quant, whose shop Bazaar in King’s Road, provided clothes…

… that allowed people to run, to jump, to leap, to retain their precious freedom. 

Quant had been cutting up lengths of cloth bought over the counter and selling them at Bazaar since the mid-fifties. Her iconoclastic style involved drawing, slicing and sewing up a uniform that parodied the pleated, padded, extravagant clothes of the Old New Look designers. In doing so, she was taking on the fashion industry of Paris and the West End from her bedsit and tiny shop. Quant’s shockingly short mini-skirts, named after the car she loved, were offensive enough for the occasional brick to be lobbed at her window. She always claimed that she was trying to free women to be able to run for a bus. But it was the sexual allure that shocked. Michael Caine later recalled taking his mother down the King’s Road to see what all the fuss was about:

I said, “here’s one now”, and this girl walks by with a mini up to here. She goes by and my mother looked at her. So, we walk on a bit. She never said a word. So I said, what do you think, mum? She said: “If it’s not for sale, you shouldn’t put it in the window.”

Clothes became the outward symbols of the ‘Chelsea Set’ of which Caine was a fully paid-up member, as was Quant. But Quant’s fashions were as exclusively priced as the ‘Set’ itself. ‘Biba’, an iconic symbol, promised liberation for women and girls, but liberation through spending. Its founder, Barbara Hulanicki was a girl from an exiled family, born before the war, brought up in British-controlled Palestine and then raised by a ‘bohemian’ aunt in Brighton, before going to art school. She then launched a mail order company with her husband. Biba, named after her younger sister, aimed to offer glamorous clothing at cheap prices. She had been mesmerised by Audrey Hepburn (above and below), her shape; long neck, small head, practically jointless, and her first top-selling design was a pink gingham dress like the one worn by Brigitte Bardot at her wedding.

Her succession of boutiques were dark, chaotic spaces in which customers could lose themselves, pick up and try on, discard and collect, and sometimes steal, a great gush of new designs which seemed to change every week. The clothes were run up at high-speed in the East End and ferried to the boutique (below) several times a week. Turnover was spectacular and soon celebrities were beating a path its door, mixing with shorthand typists and schoolgirls to buy Biba designs – Mia Farrow, Yoko Ono, Princess Anne, Raquel Welch and even Bardot herself. As one Biba admirer said, it was helping to create the concept of shopping as an experience, a leisure activity for the young. George Melley, jazz singer, writer and professional flamboyant called it a democratic version of Mary Quant. Hulancki herself said that she always wanted to get prices down, down, down, to the bare minimum. The cheapness and disposability of the clothes was shocking to an older Britain in which millions of families had been used to make do and mend, followed by making their own clothes, buying patterns from Woolworth’s and sewing them by hand, or using a new electric sewing machine, or knitting woollen dresses and jerseys. Biba was the beginning of the throw-away consumer culture applied to clothing, and though it would present moral dilemma later, in the sixties it simply provided freedom for millions of young single women, career girls about town, who, as yet, had not been shaped by motherhood.

Pop Music and Popular Culture:

Another symbol was popular music. Before ‘pop’ the dominant popular music styles produced low profits. Most public music was live; piano and banjo players on music-hall stages, the star singers and then eventually the big bands of the dance halls and the smoky subculture of ‘jazz’. Sheet-music made big money for talented composers like Ivor Novello and stage stars like Harry Lauder. Gramophone record sales had kicked off with recordings of early twentieth-century opera stars but the invention of the modern microphone in the twenties had then changed popular singing, allowing intimacy and variety of a new kind. The recording industry brought Louis Armstrong, the Ink Spots, Vera Lynn and the crooners of many West End musicals to millions of homes before pop. By the end of the fifties there were four major British recording companies: EMI, Decca, Pye and Philips. Most of their profits came from classical music or comic recordings, like those of Flanders and Swann. It was with the spread of seven-inch forty-fives that records had become something that teenagers could afford to buy. Though first produced in the US as early as 1948, for working-class British youngsters they were still formidably expensive by the late fifties.

The other essential technological changes arrived at around the same time. First, loud electric guitars, invented by radio repairman Leo Fender in 1948. Then transistor radios, originally invented in the mid-fifties to help Americans keep in touch after the coming nuclear war with Russia, and becoming popular for other purposes at the end of the decade. Without the mike, the electric guitar and the seventh-inch record, rock and pop would not have happened. Without the radio, the vital cross-cultural currents would have been unheard. The post-austerity economic boom was putting money in the pockets of teenagers and young workers, and the post-war baby-boom had increased their numbers. Better nutrition meant that they reached puberty earlier, and the mechanisms for the mass-marketing were already in place. By the early sixties, all the essential ingredients of the new market for this were also in place.

Most histories of golden-age sixties rock groups begin with a similar narrative, with the kids discovering Chuck Berry and Elvis Presley under their bedclothes, covertly listening on frequency 208 on their transistor radio to Radio Luxembourg, which broadcast to the UK from 7.00 p.m. onwards every night. They then go on to describe the formation of a ‘skiffle’ band, like that of Lonnie Donegan, using simple chords and home-made instruments like washboards or slatted wardrobe doors, mouth organs and ‘kazoos’. Then the coffee bar or burger bar would make an appearance, a place where teenagers could go to socialize and listen to jukeboxes. The local art college would also, often, be part of this formative, group experience. Many of these were associated with local technical colleges, which before the university expansion of the seventies was where bright, imaginative and often rebellious teenagers would end up after leaving ‘academia’ behind at fifteen. The art schools were the true factories of popular culture, for musicians, painters and sculptors.

By the later fifties, art students were not only listening to skiffle, but the US rock ‘n’ roll stars, and also to British ‘Elvis copies’ like first Tommy Steel, then Harry Webb, ‘reincarnated’ as Cliff Richard, then Tom Jones. John Lennon went to Liverpool Art College, while Ray Davies, who formed The Kinks attended Hornsey, Keith Richard of The Rolling Stones went to Sidcup, and Pete Townsend of The Who went to Ealing Art College. The RAF-style roundels and bold black arrows which appeared on the band’s clothes and became part of the Mods’ insignia, had been swiped from graphic designers and pop painters. Of course, no band was more important in the sixties, and arguably since, than The Beatles. They expressed both youthful rebellion and commercialism, providing British teenagers with an identity that cut across the barriers of class, accent and region. The Beatles had been formed, originally as The Quarrymen, in July 1957 and in 1962 Love Me Do reached #17 in the charts. But it wasn’t until April 1963, that From Me to You became their first number one hit single.

‘Beatlemania’ & the Radio Revolution:

The key to their initial breakthrough, and their continued success, was not studio recordings, but radio performances. Between 1957 and 1970 they performed live in eighty-four different venues in England, fifteen in Scotland, six in Wales and two in Ireland. Many people in the establishment regarded ‘pop’ music with disdain. The BBC held a monopoly over the radio waves and, in a deal with the Musicians’ Union and record manufacturers, ensured that popular music was not given airtime. The Beatles, however, were too popular for the BBC to resist, and between March 1962 and June 1965, no fewer than 275 unique musical performances were recorded in their studios and broadcast throughout the UK. The group played eighty-eight different songs on national radio, some recorded many times. As well as their own songs, these recordings also included rock ‘n’ roll numbers by Chuck Berry and Little Richard. They worked like dogs, once recording eighteen songs in one day on 16 July 1963. Derek Taylor has written about how …

… they became our cheeky chappies, our Elvis, took up residence on the front page, and in the zeitgeist of the age, helped to establish the booming creative potential of provincial England.

The Beatles gave us a continuing soundtrack of unparalleled charm and reassurance. As long as they kept on delivering fresh songs along with the morning milk, everything was right in our optimistic world. Quite quickly, the Beatles became an institution all of their own, with all sorts of attendants – fanatics and detractors, revisionists and archivists, accountants and lawyers, scribes and Pharisees.

That the Beatles were woven into the fabric of British life was due in large part to the regularity of their attention to good habits – the Christmas message to the fans, the package tours, the visits home to Liverpool families, an honest paying of all the expected dues and in no small measure to the BBC, who provided that unparalleled broadcasting expertise to keep the nation in touch with ‘the boys’ through fifty-three broadcasts. Radio allowed them to ‘be themselves’ and that was always enough for the Beatles and their followers.

The Beatles’ frequent access to the BBC’s studios and airwaves was the consequence of an age of wireless innocence. Although millions were hungry for rock ‘n’ roll, on the radio it was severely rationed. When you tuned in during the day, there was only the choice of the BBC’s three national networks and, of those, only the Light Programme might occasionally allow Elvis or Buddy Holly into your house. There was no local radio or commercial radio. The only alternative was a crackling, phasing Radio Luxembourg beamed across Europe at night. When ‘the Light’ did feature ‘pop’, due to the Musicians’ Union restriction, records were frequently side-lined by emasculated renditions of hits from dance orchestras. But without competition, BBC radio programmes were guaranteed huge audiences. The Beatles’ manager, Brian Epstein, had understood this opportunity and sent an application for a radio audition to the BBC’s Manchester outpost early in 1962. Producer Peter Pilbeam had auditioned them and, despite his note on his report about the singers – John Lennon, yes; Paul McCartney, no – both had featured on their BBC debut in front of an audience at Manchester Playhouse in March 1962. This regional radio breakthrough had come seven months before the release of their first single on ‘Parlophone’, Love Me Do, and no recording exists of the concert or any of their other three broadcasts of 1962. It remains ‘pre-history’ in terms of the Beatlemania years, especially when compared to their ‘meteoric’ rise to fame in 1963.

At the beginning of 1963, Britain was experiencing its worst winter weather since 1947. The country shivered through freezing temperatures at a time when few houses had the luxury of central heating. Most of the land was covered in deep snow making transport difficult. Undaunted, The Beatles spent many hours during those cold early months of 1963 in a van driven by a friend, journeying up and down the country to appear onstage at theatres and ballrooms and to perform in radio and TV studios. Before this breakthrough year, the group had worked hard at their craft, including hundreds of hours spent entertaining the rowdy clientele of a Hamburg nightclub and the friendly regulars at the Cavern Club in Liverpool, enabling the development of an extensive and varied repertoire. Their musical expertise combined with discipline and stamina proved to be an unbeatable formula.

Though the stories of British rock and pop bands follow a predictable trajectory, the stories of the earlier bands are more interesting simply because the story had not occurred before. Though pop was a business it was also narrative about class and morality; almost every band’s story described the tension between the marketing of the music and the attempt by the band to stay in some way ‘authentic’, true to themselves. Many never tried to be authentic in the first place, but the groundbreaking ones did but didn’t find it easy. The Kinks were four north London boys who affected a camp look and played rough, hard pop were put into the most extraordinary pink hunting jackets, ruffs and thigh-high suede boots. The Beatles were bullied and cajoled by Epstein into ditching the rough jeans and leather Luftwaffe jackets they had learned in Hamburg. To get their first recording contract with EMI, the Beatles were told to stop smoking on stage, stop swearing, turning up late, and making spontaneous decisions about which songs they would play at their gigs. They also had to learn to bow smartly to the audience, all together, after every song. They agreed. It was only later in their successful sixties that they felt they could tell their managers where to get off.

The BBC’s Saturday Club presenter, Brian Matthew (above), commented, following their appearance on his show on 26th January 1963:

At the moment, the majority of ‘The Beatles’ fans are in their home town of Liverpool and I have a very strong suspicion it won’t be long before they’re all over the country.

Brian Matthew’s belief was quickly confirmed. From ten o’clock to twelve noon every Saturday, the show reached an enormous audience of around ten to twelve million. The Beatles were featured ten times on the programme and quickly established a rapport with Matthew and producer Bernie Andrews, who supervised the music sessions.  Six numbers were recorded in sessions lasting no more than three and a half hours; sometimes as short as ninety minutes. Throughout 1963 number one records followed in quick succession: Please Please Me, From me to You, She Loves You and I Want to Hold Your Hand. The debut album, Please Please Me, the Twist and Shout EP, and the With the Beatles LP were also released within that year. While those releases kept them high in the charts, the pressure of The Beatles schedule never eased for a moment, but they were match-fit. They performed music in thirty-nine radio shows in 1963 and, most importantly, fifteen of those programmes were editions of their own radio series Pop Go the Beatles which the BBC invited them to host during the summer of 1963. Tuesday evening became an essential date with the radio for millions of fans. They were encouraged by the presenter to let their humour shine between the songs, and producer Terry Henebery remembers this ‘zaniness’ not being confined to the recorded speech links:

They’d come to the studio and horse about. You had to crack the whip and get on the loudspeaker talk-back key quite a lot and say “Come on, chaps!” They’d be lying all over the floor, giggling. And I can remember afternoons down at the Paris Cinema studio, where you were just looking at the clock, throwing your hands up in horror and thinking, ‘will they ever settle down?’ I mean, people would go and get locked in the toilets and fool about. But you were, at the end of the day, getting some nice material out of them.

No one would have predicted it in 1963, but the songs The Beatles chose to perform for their radio series constitute the most fascinating aspect of their music sessions for the BBC. The New Musical Express reported that R-and-B material will be strongly featured. The shows certainly lived up to that promise. Required to record six songs for every show, to avoid undue repetition, the group would often romp through an old favourite or work on a new number. As Ringo observed:

It was fine when doing the repertoire we knew, but some weeks it’d be real hard. We’d rehearse two or three songs in the lunch break and then go and record them in the afternoon.

For some groups, a series that demanded six new recordings every weeknight might have been daunting; but it allowed The Beatles to air their influences and try out some new favourites. They performed fifty-six new songs in all, twenty-five of which had not and would not be released on any of their records. The choice of material in these and other programmes clearly reveals the artists who had inspired the group. They recorded nine cover versions of Chuck Berry songs which, except for Roll Over Beethoven were all belted out by John. In addition, they covered six Carl Perkins and four Elvis Presley songs, while the four Little Richard rockers were the exclusive vocal property of Paul and his throat-ripping ‘whoops’ and ‘hollers’. In gentler moments, Paul sang A Taste of Honey and Till There Was You, but his most unusual ballad was The Honeymoon Song. John produced a real gem in Ann-Margret’s I Just Don’t Understand. The four were adept at digging out unusual material, often beating rival Liverpool groups to sought-after American records and learning the B-side. As Paul commented in 2013,

You will find stuff in our repertoire that came off little odd-ball records. We had started off going onstage and playing songs that we liked, but then we would find that on the same bill as us in the Liverpool clubs, there might be another band that would play exactly the same songs. If they were on before us, it made us look a bit silly. We started to look further afield, study the American charts and see what was there. We’d listen to radio a lot and find out if there was anything up and coming. We would also flip records and listen to the B-sides; see if we could find anything that way. In fact, that’s what started John and I writing, because this was the only foolproof way that other bands couldn’t have our songs. There was no great artistic muse that came out of the heavens and said, ‘Ye shall be a songwriting partnership!’ It was really just we had better do this or everyone is going to have our act. …

In addition to the night-time broadcasts of Radio Luxembourg, the other sources for rock ‘n’ roll music on discs were coffee-bar jukeboxes, fairgrounds and record shops. Fortunately, this era was a golden era for record stores. Hundreds of family-run concerns, like Brian Epstein’s NEMS in Liverpool, would take pride in stocking at least one copy of everything released. Many Liverpool musicians spent hours in listening booths at NEMS while records were played to them. Occasionally, they might even buy one! At the time of their BBC sessions, The Beatles were seeking out the latest Rhythm and Blues records from the States. Although many of these by groups such as The Miracles did not, at first, make the British charts, they were a key influence on The Beatles. Again, Paul McCartney explains:

With our manager Brian Epstein having a record shop – NEMS – we did have the opportunity to look around a bit more than the casual buyer. …

Ringo would get stuff from the sailors. … he happened to have a few mates who’d been to New Orleans or New York and had picked up some nice blues or country and western. … But it was really a question of looking harder than the next guy. We made it our full-time job to research all these things; to go for the road less travelled.

These records, and those by The Shirelles, who did have some UK hits, had sophisticated vocal, string and horn parts. Rearranging them for a four-piece line-up helped to create the Beatle sound just as much as the earlier singles by the rock ‘n’ roll pioneers. Current R&B records were not easy to get hold of or hear in Britain. But in 1963, records released on the Tamla and Motown labels were distributed in the UK by Oriole. Radio Luxembourg also featured the latest records by Mary Wells, The Miracles, Marvin Gaye, Martha & the Vandellas and Little Stevie Wonder. Although none of them was a hit at the time, The Beatles’ love of the records from Detroit was demonstrated when they included three Motown songs on With the Beatles. Their devotion to black soul music proved crucial to its wider acceptance.

The significance of The Beatles’ BBC radio sessions also stems from the way the sound of the group was captured for their broadcasts. At that time, artists were not given large amounts of studio time. At EMI studios, on 11th February 1963, The Beatles had to record ten songs for their debut album, Please Please Me. The fact that this was achieved in under ten hours subsequently became regarded as a remarkable achievement. This was seen as especially true when the quality of the tracks was considered. It was common practice in 1963 to complete a minimum of two songs in a standard three-hour session. As Paul has pointed out,

It was just the rate people worked at. … Looking at it now, it seems so fast, but then it seemed very sensible.

At the BBC, the work-rate was even higher. Apart from when they were performing in front of an audience for a broadcast, The Beatles had to record five or six songs in a short session so they were not fazed by this requirement. The recordings were made onto a four-track tape machine at EMI in October 1963, but multi-tracking did not begin at the BBC until a decade later. This meant that the mono recordings could not be edited, except by editing different takes of a song onto the same tape. Otherwise, there was the option to ‘overdub’ by copying the first recording to another tape, while at the same time adding more instruments or vocals. Both of these processes could be very time-consuming, so what we hear on the BBC tapes is the sound of the group performing ‘live’, direct to tape, as if to an immediate audience, but without the noisy hysteria which accompanied their public concerts. The pop songs of the early Beatles were not neatly produced commodities as all pop songs later became. You can hear the fun involved in their creation.

When Pop Go The Beatles finished its run, they were once more at the top of the charts with She Loves You. From that point on, things went crazy and pretty much stayed that way. Their unassailable popularity was reflected by the press who applied the epithet Beatlemania to the hysteria that surrounded their every move. In February 1964, the States surrendered to the magic and Brian Epstein’s bold boast that his group would be ‘bigger than Elvis’ proved to be true. Having ‘hit the business jackpot’, as Brian Matthew expressed it in Saturday Club, the number of times The Beatles came to the BBC was greatly reduced; compared to the thirty-four programmes recorded in 1963, from October 1963 to June 1965 there were just fifteen specially recorded sessions. Having once been prepared to rush from one end of the country to the other for a radio show, global success now made the group less available. Their last BBC radio performance was the solitary one of 1965, on Whit Monday, entitled The Beatles Invite You to Take a Ticket to Ride. It was understandable that they now had real need of this particular kind of radio exposure. But most of the sessions at the BBC had been exciting and fun. DJ Alan ‘Fluff’ Freeman worked with the Beatles in 1964. He remembered that:

Their music and persona freed me from middle age … because the things that were coming from The Beatles made me feel like a ten-year-old! They made us all feel tremendously happy.

Just before The Beatles made their last BBC recording, at Easter 1964 the first illegal ‘pirate’ radio station, Radio Caroline, began broadcasting from a ship just off the Sussex coast. Within months, millions of young people were listening to Radio Caroline North and Radio Caroline South, Radio London and other pirate stations that sprung up. Not only did they broadcast popular music records, but they also reminded their listeners that any attempt to silence them would constitute a direct ‘attack on youth’. With the advent of these radio stations, the BBC monopoly on airtime was broken, and bands were able to get heard beyond their concerts. Eventually, the Government acted to bring an end to its cold war with the British record industry. The BBC set up Radio One to broadcast popular records and in August 1967, the Marine Offences Act outlawed the pirate ships.

The Rock Generation:

In the early days of pop and rock, it was not always quite as obvious that money would always trump vitality. There were still battles to be fought between the two. The Who (pictured below) were a west London band which had, like so many others, emerged from skiffle, and had been kick-started by the early successes of The Beatles. They were encouraged by their manager, Peter Meadon, to dress stylishly and address themselves to the new audience of ‘Mods’. Their first single, I Can’t Explain was self-consciously derivative of The Kinks, and was released in January 1965. It made it to #8 in the charts, but it was their second single, My Generation which really caught the mood of the times and the imaginations of pop fans, later became the first British rock ‘anthem’. It was recorded at the Pye Studios in London in October 1965 and released as a single on 5th November. Just before its release, Roger Daltry was fired from the band for fighting with the other members, but he was quickly reinstated when it reached #2. The fighting and onstage antics continued throughout their early career, though, including the smashing up of guitars by the band’s leader, Pete Townsend. While delighting their live audiences, their guitar-smashing kept them away from mainstream venues.

A string of top ten hits followed in 1965-67, from Substitute to Pictures of Lily and I Can See for Miles. Pete was disappointed that the last of these only reached #10 in the UK charts compared with #9 in the US, commenting shortly afterwards that to him, that was the ultimate Who record yet it didn’t sell and I spat on the British record buyer. Throughout a stellar career during which some think, with their concept albums, eclipsed The Beatles after the break-up of the ‘fab four’, The Who, though, far from revolutionary in politics, were never properly ‘tamed’.  Nor were The Kinks, whose song-writing genius Ray Davies became involved in a punch-up with an American television union official who had called them a bunch of commie wimps. That altercation got them banned from the States for four crucial years.

The big battle lines, however, were drawn over the content of the songs, which quickly moved beyond the easy American boy-meets-girl themes of Buddy Holly and the Everly Brothers. By 1968, rock was beginning to escape from the urban and suburban Britain of its young consumers. For most of them, their teenage years would end in a more conventional working life and marriage, which was (perhaps somewhat conversely) more popular than ever in the late sixties, with marriage rates peaking in 1972. But drugs, mysticism, gangs and sexual experimentation were some of the alternatives celebrated by pop culture, much to the discomfort of record companies, the BBC, politicians and the newspapers. Songs such as Lola by The Kinks and I’m a Boy by The Who challenged existing sexual stereotypes, and there was a ‘libertine’ element in The Rolling Stones songs which shocked those parents who could follow the lyrics.

Above all, the rate of experimentation and change in sixties pop itself was astonishing, as a new sound, instrument, length of song and sexually explicit album cover image seemed to come along every few weeks in 1966-68. It was a classic, market-driven competition between the top bands and artists, measured by sales of records. Lennon and McCartney remained at the forefront of this experimentation, feeding back discoveries about tape loops, modern composers and Bach into the music of The Beatles, retreating more and more into their Abbey Road studio to produce more complex sounds. The Stones’ blues-rock challenged the ‘Mersey Beat’ and the ‘Mods’ began to produce early versions of the ‘heavy metal’ genre, followed by Led Zeppelin at the end of 1968, who made it their own. But, at this stage, The Beatles were still seen as the pioneers, the first big stars to fall for Indian mysticism, sitars, or the next drug craze, and the first to break up under the strain. Their trajectory, like their output, seemed impossible to beat. As Andrew Marr concludes,

A band’s success was based on its members’ skills but also on their authentic claim to be the kids from the streets whose anger, enthusiasm, boredom and wit reflected the actual Britain all around them, the lives of the people who would save up and buy their songs. Pop was music from below or it was nothing. Yet the successful musicians would be cut off from the world they came from by the money and the security needed to keep fans at bay until they were fated to sound introspective and irrelevant.  

By 1968, other forms of music were receding before the ear-splitting tidal advance of rock and pop, driven by radio. In painting, pop art and the pleasure principle were on the attack. Simpler and more digestible art forms, suitable for mass market consumption, were replacing élite art which assumed an educated and concentrated viewer, listener or reader. Throughout these years there were self-conscious moves to create new élites, to keep the masses out. They came from the portentous theories of modern art or the avowedly difficult atonal Classical music arriving from France and America, but these were eddies against the main cultural current.  Similarly, when Mary Quant set up her shop she was a rotten businesswoman. The fun was in the clothes. No business with so little grasp of cash could afford to be cynical. Of course, the King’s Road was a foreign country to most Britons in the mid-sixties. The majority of those who lived through that period have personal memories of rather conventional and suburban lives. Most working-class people were still living in Edwardian and Victorian red-brick terraces in the English and Welsh industrial cities, and in tenements in Glasgow, Dundee and other Scottish towns.

For this vast majority, the early sixties were experienced as a continuation of the fifties, not as a break with that decade. Britain remained an industrial society, though more prosperous, whose future was believed still to depend on factories producing cars, engines, washing machines and electrical goods, both for the ‘domestic’ market and for export. The older generation of authority figures – teachers, judges and above all parents – still derived their clothes and morality from their wartime experience, and were the butt of widespread mockery, especially by the cartoonist Giles of The Daily Express (commemorated by the statue shown above, located in Ipswich town centre) and on TV by David Frost. Television also gave further mass exposure to the pop industry, with regular editions of  ‘Jukebox Jury’, ‘Ready, Steady, Go’, and ‘Top of the Pops’ attracting huge young audiences. The radio, TV and magazine publicity machine was up and going. The equipment was in every second home, radios and record players turned out by Britain’s booming electronics industry. But the men with moustaches and ‘short back and sides’ haircuts were visibly still in power. As Andrew Marr has written,

The Britain which proudly displayed volumes of Churchill’s war memoirs on bookshelves, and stood up in cinemas for the national anthem, did not disappear when Ringo Starr grew his first luxuriant moustache.   

Swinging London and its New Celebrities:

The new culture was far from elitist; it was meritocratic, but it could be just as exclusive as the older forms. It was shaped by upper-working-class and lower-middle-class people who had never enjoyed this level of cultural influence before. The northern cities of England, especially Liverpool, but also Newcastle and Manchester, that were sending their sons and daughters south to conquer, even if it was only on radio and television shows. The older Britain with its regimental traditions, its racism and clear divisions in terms of class, geography and dialect. The ‘scouse’ voices of The Beatles and the ‘Geordie’ accents of the Animals had been rarely heard on the radio before 1963, and for many metropolitan and Home Counties listeners, they came as something of a shock. By the summer of 1965, however, what was called Swinging London, or the Scene, was a small number of restaurants, shops and clubs where a small number of people were repeatedly photographed and written about. In Chelsea, Biba, ‘Granny Takes a Trip’, ‘Bazaar’ and ‘Hung on You’ were honeypots for the fashionable. They spent their evenings and nights at clubs like ‘Annabel’s’, ‘Showboat’ and ‘Talk of the Town’.

There were perhaps no more than twenty ‘celebrities’ at the heart of Swinging London. They included The Beatles and Mick Jagger, among eight pop singers, the model Jean Shrimpton, the designer Mary Quant, painter David Hockney, actors Michael Caine and Terence Stamp, and photographers Lord Snowdon, David Bailey and Terence Donovan. The ‘list’ compiled and published by Private Eye journalist Christopher Booker in 1969, also included an interior decorator, a creative advertiser, a film producer, a discotheque manager, a ballet dancer and the Kray brothers from the East End who could only be described as connected with the underworld. These New Aristocrats, as Christopher Booker called them, were all concerned with the creation of images. Following the Profumo affair of a few years earlier, old money, big business, the traditional arts and politics were being marginalised and replaced by working-class ‘upstarts’. Among the photographers, Bailey was a tailor’s son and Donovan a lorry driver’s son, both from the East End. Michael Caine was a Billingsgate fish porter’s son and Stamp the son of a tug-boat captain. The female aristocrats included Lesley Hornby of Neasden, better known as ‘Twiggy’, a carpenter’s daughter, and Priscilla White, better known as ‘Cilla Black’, another (originally) ‘scruffy Scouser’. A few were there entirely because of their looks, like ‘supermodel’ Jean Shrimpton, a description first used in 1968. Very few of these men and women would have made it in the London of previous decades. The intertwining of this aristocracy of pop was as sinuous as the old Tory cliques of the fifties. But their significance was that they represented the increased mobility of talented people from working-class backgrounds.

These ‘celebrities’ were joined by footballers, who in 1966-68 were raised from tradesmen and servants to the level of golden gods, sometimes behaving badly too. England’s victory in the 1966 World Cup, with its dramatic finale at Wembley and the team’s 4-2 defeat of West Germany was the stuff that dreams are made of, leading to ritual disappointed expectations every four years ever since. Despite reaching the semi-finals on two occasions since, in 1990 and 2018, the nation has not yet been able to repeat the dressing up and dancing in the streets that went on then, with every English man, woman and child joining in. Alf Ramsey, the English team manager, had been part of the team who had lost 3-6 to Hungary at Wembley in 1953. Now he and his lions had brought football home at last. The three ‘Eastenders’, West Ham’s Bobby Moore, Martin Peters and Geoff Hurst outshone the Charlton brothers on this occasion, but Bobby Charlton was himself part of Manchester United’s ‘home’ international trio together with George Best and Denis Law who won the European Cup, beating Eusebio and Benfica 4-1 in 1968. This was a remarkable achievement, coming just a decade after Busby’s ‘babes’ were all but wiped out in the Munich air disaster of 1958. Glasgow Celtic had been the first British team to win the European Cup in the previous year, under the management of Jock Stein in 1967. Some of these soccer celebrities, like George Best, were later to struggle with the limelight, but for now they could do no wrong as far as the British public were concerned. The articles and photos below are from a facsimile of the Sunday Mirror from 31 July 1966:

The new celebrities were not just fascinated by images, but quickly colonised the entire new media of pop music, radio, television, fashion, advertising, colour magazines, and hairdressing. These were not the property of the City or of old money. Linguistic diversity was as important as imagery in this democratisation of society and culture. It was the breakthrough lead given by Lennon and McCartney in singing their own material that persuaded scores of other British bands to follow suit. Others chose to mimic the accents and vocabulary of the American rockers who had inspired them, even when producing their own compositions. There are few songs in the ‘transatlantic’ repertoire of The Rolling Stones which sound particularly English, unlike those of other iconic London bands such as The Kinks and The Who. Banned from the US while others were breaking into the American market, Ray Davies turned back to local subjects. He had always written pop songs about everything from the death of the dance-halls to the joys of an autumn sunset over Waterloo Bridge, but The Kinks Are The Village Green Preservation Society of 1968 was on an entirely different scale. As Ray Davies commented himself:

While everybody else thought the hip thing to do was to drop acid, take as many drugs as possible and listen to music in a coma, the Kinks were singing songs about lost friends, draught beer, motorbike riders, wicked witches and flying cats.

The title song of their album calls for the ‘preservation’ of Desperate Dan, strawberry jam, the George Cross, the ‘Sherlock Holmes English-speaking vernacular’, little shops, china cups, virginity, Tudor houses and antique tables while attacking the new skyscrapers and office blocks. The album, which sold in tiny numbers compared with Sergeant Pepper, with its equally nostalgic Liverpudlian and Lancastrian-themed lyrics, confused contemporary critics who could not decide whether the group were being serious or satirical. The simple answer, with the benefit of a critical hindsight which regards the disc as one of the greatest achievements of British pop in the sixties, “both”. The band showed that it was possible to write inspiring rock music about what was around you, rather than posturing as a boy from Alabama or pretending to be an Afro-American. On the other hand, in listening to Dusty Springfield, who had one of the ‘purest’, most spell-binding voices of the decade, you could be forgiven for thinking she was from Detroit or Paris. Few of the songs she sang, if any, had British themes and British English vocabulary. But then, ‘son of a preacher man’ scans better! The English folk-song revival of the early sixties also played into this democratic, eclectic mix, with the founding of Fairport Convention in 1967, named after the house in which they practised in North London. Their folk-rock genre took themes and dialects from all parts of the British Isles. By 1968, regional accents had become commonplace in radio and television programmes, especially the perennial ‘soap operas’, though it took much longer for the provincial presenters of news, views and features to be accepted onto the national broadcasts of the BBC, not to mention those from ethnic minorities. This reflected the slow progress in British society in general towards genuine devolution, diversity and gender equality.

Despite the dramatic increase in wealth, coupled with the emergence of distinctive subcultures, technological advances (including television) and unprecedented shifts in popular culture, by the end of the sixties, there was a general sense of dissatisfaction and disillusionment with society and politics in Britain. In the early seventies, when John Lennon was asked to assess the impact of The Beatles by Rolling Stone magazine, he commented that…

Nothing happened, except we all dressed up. The same bastards are in control, the same people are running everything, it’s exactly the same.

Conclusion: A Real Counter-cultural Revolution?

The counter-cultural ‘revolution’ in Britain had no organisation and no practical agenda. It was largely middle class in its amorphous leadership, without any real or effective links to the working-class socialists who wanted higher wages and perhaps even workers’ cooperatives, but were less keen on long-haired students taking drugs, or indeed on angry black people. The counter-cultural currents influenced pop and rock music, but it did not immediately create an indigenous, autonomous British movement. It was dependent on passing American fads and voices, like that of Bob Dylan and Allen Ginsberg. Like both Dylan and John Lennon in the early seventies, The Who questioned revolutionary values and violent methods in their second great ‘anthem’, Won’t Get Fooled Again, written by Pete Townsend in 1970 and recorded and released the next year. It ends with the line, Meet the new boss; he’s the same as the old boss! Townsend wrote,

It’s really a bit of a weird song. The first verse sounds like a revolution song and the second like somebody getting tired of it. It’s an anti-establishment song. It’s ‘anti’ people who are negative. A song against the revolution because … a revolution is not going to change anything at all in the long run, and a lot of people are going to get hurt.

Symbolically, perhaps, the group has usually played the full eight-and-a-half minute version of the song at the end of its concert. More than any other song, it sums up the relationship between pop music and sixties’ counter-culture.

Sources:

Joanna Bourke, Shompa Lahiri, et. al. (eds.) (2001), The Penguin Atlas of British & Irish History. London: Penguin Books.

Andrew Marr (2007), A History of Modern Britain. London: Macmillan.

Kevin Howlett (2014), The Beatles: The BBC Archives, 1962-1970.

 

Demographics and Reconfigurations:

The 1960s were dramatic years in Britain: demographic trends, especially the increase in the proportion of teenagers in the population, coincided with economic affluence and ideological experimentation to reconfigure social mores to a revolutionary extent. In 1964, under Harold Wilson, the Labour Party came into power, promising economic and social modernisation. In an attempt to tackle the problem of poverty, public expenditure on social services was expanded considerably, resulting in a small degree of redistribution of income. Economically, the main problems of the decade arose from the devaluation of the currency in 1967 and the increase in industrial action. This was the result of deeper issues in the economy, such as the decline of the manufacturing industry to less than one-third of the workforce. In contrast, employment in the service sector rose to over half of all workers. Young people were most affected by the changes of the 1960s. Education gained new prominence in government circles and student numbers soared. By 1966, seven new universities had opened (Sussex, East Anglia, Warwick, Essex, York, Lancaster and Kent). More importantly, students throughout the country were becoming increasingly radicalized as a response to a growing hostility towards what they perceived as the political and social complacency of the older generation. They staged protests on a range of issues, from dictatorial university decision-making to apartheid in South Africa, and the continuance of the Vietnam War.

Above: A Quaker ‘advertisement’ in the Times, February 1968.

Vietnam, Grosvenor Square and All That…

The latter conflict not only angered the young of Britain but also placed immense strain on relations between the US and British governments. Although the protests against the Vietnam War were less violent than those in the United States, partly because of more moderate policing in Britain, there were major demonstrations all over the country; the one which took place in London’s Grosvenor Square, home to the US Embassy, in 1968, involved a hundred thousand protesters. Like the world of pop, ‘protest’ was essentially an American import. When counter-cultural poets put on an evening of readings at the Albert Hall in 1965, alongside a British contingent which included Adrian Mitchell and Christopher Logue, the ‘show’ was dominated by the Greenwich Village guru, Allen Ginsberg. It was perhaps not surprising that the American influence was strongest in the anti-war movement. When the Vietnam Solidarity Committee organised three demonstrations outside the US embassy in London’s Grosvenor Square, the second of them particularly violent, they were copying the cause and the tactics used to much greater effect in the United States. The student sit-ins and occupations at Hornsey and Guildford Art Colleges and Warwick University were pale imitations of the serious unrest on US and French campuses. Hundreds of British students went over to Paris to join what they hoped would be a revolution in 1968, until de Gaulle, with the backing of an election victory, crushed it. This was on a scale like nothing seen in Britain, with nearly six hundred students arrested in fights with the police on a single day and ten million workers on strike across France.

Wilson & the ‘White Heat’ of Technological Revolution:

Andrew Marr has commented that the term ‘Modern Britain’ does not simply refer to the look and shape of the country – the motorways and mass car economy, the concrete, sometimes ‘brutalist’ architecture, the rock music and the high street chains. It also refers to the widespread belief in planning and management. It was a time of practical men, educated in grammar schools, sure of their intelligence. They rolled up their sleeves and took no-nonsense. They were determined to scrap the old and the fusty, whether that meant the huge Victorian railway network, the Edwardian, old Etonian establishment in Whitehall, terraced housing, censorship, prohibitions on homosexual behaviour and abortion. The country seemed to be suddenly full of bright men and women from lower-middle-class or upper-working-class families who were rising fast through business, universities and the professions who were inspired by Harold Wilson’s talk of a scientific and technological revolution that would transform Britain. In his speech to Labour’s 1963 conference, the most famous he ever made, Wilson pointed out that such a revolution would require wholesale social change:

The Britain that is going to be forged in the white heat of this revolution will be no place for restrictive practices or for outdated methods … those charged with the control of our affairs must be ready to think and speak in the language of our scientific age. … the formidable Soviet challenge in the education of scientists and technologists in Soviet industry (necessitates that) … we must use all the resources of democratic planning, all the latent and underdeveloped energies and skills of our people to ensure Britain’s standing in the world.

In some ways, however, this new Wilsonian Britain was already out of date by the mid-sixties. In any case, his vision, though sounding ‘modern’ was essentially that of an old-fashioned civil servant. By 1965, Britain was already becoming a more feminised, sexualized, rebellious and consumer-based society. The political classes were cut off from much of this cultural undercurrent by their age and consequent social conservatism. They looked and sounded what they were, people from a more formal time, typified by the shadow cabinet minister, Enoch Powell MP.

Education – The Binary Divide & Comprehensivisation:

By 1965, the post-war division of children into potential intellectuals, technical workers and ‘drones’ – gold, silver and lead – was thoroughly discredited. The fee-paying independent and ‘public’ schools still thrived, with around five per cent of the country’s children ‘creamed off’ through their exclusive portals. For the other ninety-five per cent, ever since 1944, state schooling was meant to be divided into three types of schools. In practice, however, this became a binary divide between grammar schools, taking roughly a quarter, offering traditional academic teaching, and the secondary modern schools, taking the remaining three-quarters of state-educated children, offering a technical and/or vocational curriculum. The grandest of the grammar schools were the 179 ‘direct grant’ schools, such as those in the King Edward’s Foundation in Birmingham, and the Manchester Grammar School. They were controlled independently of both central and local government, and their brighter children would be expected to go to the ‘better’ universities, including Oxford and Cambridge, from where they would enter the professions. Alongside them, also traditionalist in ethos but ‘maintained’ by the local authorities, were some 1,500 ordinary grammar schools, like George Dixon Grammar School in Birmingham, which the author attended from 1968.

The division was made on the basis of the selective state examination known as the ‘eleven plus’ after the age of the children who sat it. The children who ‘failed’ this examination were effectively condemned as ‘failures’ to attend what were effectively second-rate schools, often in buildings which reflected their lower status. As one writer observed in 1965, ‘modern’ had become a curious euphemism for ‘less clever’. Some of these schools were truly dreadful, sparsely staffed, crowded into unsuitable buildings and sitting almost no pupils for outside examinations before most were released for work at fifteen. At A Level, in 1964, the secondary moderns, with around seventy-two per cent of Britain’s children, had 318 candidates. The public schools, with five per cent, had 9,838. In addition, the selective system was divisive of friendships, families and communities. Many of those who were rejected at the eleven plus and sent to secondary moderns never got over the sense of rejection. The IQ tests were shown not to be nearly as reliable as first thought. Substantial minorities, up to sixty thousand children a year, were at the ‘wrong’ school and many were being transferred later, up or down. Different education authorities had widely different proportions of grammar school and secondary modern places; division by geography, not even by examination. A big expansion of teachers and buildings was needed to deal with the post-war baby boom children who were now reaching secondary school.

Desperately looking for money, education authorities snatched at the savings a simpler comprehensive system, such as that pioneered and developed in Coventry in the fifties, might produce. Socialists who had wanted greater equality, among whom Education Secretary Tony Crosland had long been prominent, were against the eleven plus on ideological grounds. But many articulate middle-class parents who would never have called themselves socialists were equally against it because their children had failed to get grammar school places. With all these pressures, education authorities had begun to move towards a one-school-for-all or comprehensive system during the Conservative years, Tory Councils as well as Labour ones. So when Crosland took over, the great schooling revolution, which has caused so much controversy ever since, was well under way. There were already comprehensives, not just in Coventry, but also on the Swedish model, and they were much admired for their huge scale, airy architecture and apparent modernity. Crosland hastened the demise of the grammar schools by requesting local authorities to go comprehensive. He did not say how many comprehensives must be opened nor how many grammar schools should be closed, but by making government money for new school building conditional on going comprehensive, the change was greatly accelerated.

Population ‘Inflow’ and ‘Rivers of Blood’:

Although the 1962 Commonwealth and Immigration Act was intended to reduce the inflow of Caribbeans and Asians into Britain, it had the opposite effects: fearful of losing the right of free entry, immigrants came to Britain in greater numbers. In the eighteen months before the restrictions were introduced in 1963, the volume of newcomers, 183,000, equalled the total for the previous five years. Harold Wilson was always a sincere anti-racist, but he did not try to repeal the 1962 Act with its controversial quota system. One of the new migrations that arrived to beat the 1963 quota system just before Wilson came to power came from a rural area of Pakistan threatened with flooding by a huge dam project. The poor farming villages from the Muslim north, particularly around Kashmir, were not an entrepreneurial environment. They began sending their men to earn money in the labour-starved textile mills of Bradford and the surrounding towns. Unlike the West Indians, the Pakistanis and Indians were more likely to send for their families soon after arrival in Britain. Soon there would be large, distinct Muslim communities clustered in areas of Bradford, Leicester and other manufacturing towns. Unlike the Caribbean communities, which were largely Christian, these new streams of migration were bringing people who were religiously separated from the white ‘Christians’ around them and cut off from the main forms of working-class entertainment, many of which involved the consumption of alcohol, from which they abstained. Muslim women were expected to remain in the domestic environment and ancient traditions of arranged marriages carried over from the subcontinent meant that there was almost no inter-marriage with the native population. To many of the ‘natives’ the ‘Pakis’ were less threatening than young Caribbean men, but they were also more alien.

Wilson had felt strongly enough about the racialist behaviour of the Tory campaign at Smethwick, to the west of Birmingham, in 1964, to publicly denounce its victor Peter Griffiths as a ‘parliamentary leper’. Smethwick had attracted a significant number of immigrants from Commonwealth countries, the largest ethnic group being Sikhs from the Punjab in India, and there were also many Windrush Caribbeans settled in the area. There was also a background of factory closures and a growing waiting list for local council housing. Griffiths ran a campaign critical of both the opposition and the government’s, immigration policies. The Conservatives were widely reported as using the slogan “if you want a nigger for a neighbour, vote Labour” but the neo-Nazi British Movement, claimed that its members had produced the initial slogan as well as spread the poster and sticker campaign. However, Griffiths did not condemn the phrase and was quoted as saying “I should think that is a manifestation of popular feeling. I would not condemn anyone who said that.” The 1964 general election had involved a nationwide swing from the Conservatives to the Labour Party; which had resulted in the party gaining a narrow five seat majority. However, in Smethwick, as Conservative candidate, Peter Griffiths gained the seat and unseated the sitting Labour MP, Patrick Gordon Walker, who had served as Shadow Foreign Secretary for the eighteen months prior to the election. In these circumstances, the Smethwick campaign, already attracting national media coverage, and the result itself, stood out as clearly the result of racism.

Griffiths, in his maiden speech to the Commons, pointed out what he believed were the real problems his constituency faced, including factory closures and over 4,000 families awaiting council accommodation. But in  1965, Wilson’s new Home Secretary, Frank Soskice, tightened the quota system, cutting down on the number of dependents allowed in, and giving the Government the power to deport illegal immigrants. At the same time, it offered the first Race Relations Act as a ‘sweetener’. This outlawed the use of the ‘colour bar’ in public places and by potential landlords, and discrimination in public services, also banning incitement to racial hatred like that seen in the Smethwick campaign. At the time, it was largely seen as toothless, yet the combination of restrictions on immigration and the measures to better integrate the migrants already in Britain did form the basis for all subsequent policy.

When the author went to live there with his family from Nottingham in 1965, Birmingham’s booming postwar economy had not only attracted its ‘West Indian’ settlers from 1948 onwards, but had also ‘welcomed’ South Asians from Gujarat and Punjab in India, and East Pakistan (Bangladesh) both after the war and partition, and in increasing numbers from the early 1960s. The South Asian and West Indian populations were equal in size and concentrated in the inner city wards of the city and in west Birmingham, particularly Sparkbrook and Handsworth, as well as in Sandwell (see map above; then known as Smethwick and Warley). Labour shortages had developed in Birmingham as a result of an overall movement towards skilled and white-collar employment among the native population, which created vacancies in less attractive, poorly paid, unskilled and semi-skilled jobs in manufacturing, particularly in metal foundries and factories, and in the transport and healthcare sectors of the public services. These jobs were filled by newcomers from the Commonwealth.

Whatever the eventual problems thrown up by the mutual sense of alienation between natives and immigrants, Britain’s fragile new consensus and ‘truce’ on race relations of 1964-65 was about to be broken by another form of racial discrimination, this time executed by Africans, mainly the Kikuyu people of Kenya. After the decisive terror and counter-terror of the Mau Mau campaign, Kenya had won its independence under the leadership of Jomo Kenyatta in 1963 and initially thrived as a relatively tolerant market economy. Alongside the majority of Africans, however, and the forty thousand whites who stayed after independence, there were some 185,000 Asians in Kenya. They had mostly arrived during British rule and were mostly better-off than the local Kikuyu, well established as doctors, civil servants, traders business people and police. They also had full British passports and therefore an absolute right of entry to Britain, which had been confirmed by meetings of Tory ministers before independence. When Kenyatta gave them the choice of surrendering their British passports and gaining full Kenyan nationality or becoming foreigners, dependent on work permits, most of them chose to keep their British nationality. In the generally unfriendly and sometimes menacing atmosphere of Kenya in the mid-sixties, this seemed the sensible option. Certainly, there was no indication from London that their rights to entry would be taken away.

Thus, the 1968 Immigration Act was specifically targeted at restricting Kenyan Asians with British passports. As conditions grew worse for them in Kenya, many of them decided to seek refuge in the ‘mother country’ of the Empire which had settled them in the first place. Through 1967 they were coming in by plane at the rate of about a thousand per month. The newspapers began to depict the influx on their front pages and the television news, by now watched in most homes, showed great queues waiting for British passports and flights. It was at this point that Conservative MP Enoch Powell, in an early warning shot, said that half a million East African Asians could eventually enter which was ‘quite monstrous’. He called for an end to work permits and a complete ban on dependants coming to Britain. Other prominent Tories, like Ian Macleod, argued that the Kenyan Asians could not be left stateless and that the British Government had to keep its promise to them. The Labour government was also split on the issue, with the liberals, led by Roy Jenkins, believing that only Kenyatta could halt the migration by being persuaded to offer better treatment. The new Home Secretary, Jim Callaghan, on the other hand, was determined to respond to the concerns of Labour voters about the unchecked migration.

By the end of 1967, the numbers arriving per month had doubled to two thousand. In February, Callaghan decided to act. The Commonwealth Immigrants Act effectively slammed the door while leaving a ‘cat flap’ open for a very small annual quota, leaving some twenty thousand people ‘stranded’ and stateless in a country which no longer wanted them. The bill was rushed through in the spring of 1968 and has been described as among the most divisive and controversial decisions ever taken by any British government. Some MPs viewed it as the most shameful piece of legislation ever enacted by Parliament, the ultimate appeasement of racist hysteria. The government responded with a tougher anti-discrimination bill in the same year. For many others, however, the passing of the act was the moment when the political élite, in the shape of Jim Callaghan, finally woke up and listened to their working-class workers. Polls of the public showed that 72% supported the act. Never again would the idea of free access to Britain be seriously entertained by mainstream politicians. This was the backcloth to the notorious ‘Rivers of Blood’ speech made in Birmingham by Enoch Powell, in which he prophesied violent racial war if immigration continued.

Powell had argued that the passport guarantee was never valid in the first place. Despite his unorthodox views, Powell was still a member of Edward Heath’s shadow cabinet which had just agreed to back Labour’s Race Relations Bill. But Powell had gone uncharacteristically quiet, apparently telling a local friend, I’m going to make a speech at the weekend and it’s going to go up “fizz” like a rocket, but whereas all rockets fall to earth, this one is going to stay up. The ‘friend’, Clem Jones, the editor of Powell’s local newspaper, The Wolverhampton Express and Star, had advised him to time the speech for the early evening television bulletins, and not to distribute it generally beforehand. He came to regret the advice. In a small room at the Midland Hotel on 20th April 1968, three weeks after the act had been passed and the planes carrying would-be Kenyan Asian immigrants had been turned around, Powell quoted a Wolverhampton constituent, a middle-aged working man, who told him that if he had the money, he would leave the country because, in fifteen or twenty years time, the black man will have the whip hand over the white man. Powell continued by asking rhetorically how he dared say such a horrible thing, stirring up trouble and inflaming feelings:

The answer is I do not have the right not to do so. Here is a decent, ordinary fellow-Englishman, who in broad daylight in my own town says to me, his Member of Parliament, that this country will not be worth living in for his children. I simply do not have the right to shrug my shoulders and think about something else. What he is saying, thousands and hundreds of thousands are saying and thinking … ‘Those whom the Gods wish to destroy, they first make mad.’ We must be mad, literally mad, as a nation to be permitting the annual flow of some fifty thousand dependants, who are for the most part the material growth of the immigrant-descended population. It is like watching a nation busily engaged in heaping its own its own funeral pyre. … 

 … As I look ahead, I am filled with foreboding. Like the Roman, I seem to see “the river Tiber foaming with much blood”.

He also made various accusations, made by other constituents, that they had been persecuted by ‘Negroes’, having excrement posted through their letter-boxes and being followed to the shops by children, charming wide-grinning pickaninnies chanting “Racialist.” If Britain did not begin a policy of voluntary repatriation, it would soon face the kind of race riots that were disfiguring America. Powell claimed that he was merely restating Tory policy. But the language used and his own careful preparation suggests it was both a call to arms and by a politician who believed he was fighting for white English nationhood, and a deliberate provocation aimed at Powell’s enemy, Heath. After horrified consultations when he and other leading Tories had seen extracts of the speech on the television news, Heath promptly ordered Powell to phone him, and summarily sacked him. Heath announced that he found the speech racialist in tone and liable to exacerbate racial tensions. As Parliament returned three days after the speech, a thousand London dockers marched to Westminster in Powell’s support, carrying ‘Enoch is right’ placards; by the following day, he had received twenty thousand letters, almost all in support of his speech, with tens of thousands still to come. Smithfield meat porters and Heathrow airport workers also demonstrated in his support. Powell also received death threats and needed full-time police protection for a while; numerous marches were held against him and he found it difficult to make speeches at or near university campuses. Asked whether he was a racialist by the Daily Mail, he replied:

We are all racialists. Do I object to one coloured person in this country? No. To a hundred? No. To a million? A query. To five million? Definitely.

Did most people in 1968 agree with him, as Andrew Marr has suggested? It’s important to point out that, until he made this speech, Powell had been a Tory ‘insider’, though seen as something of a maverick, and a trusted member of Edward Heath’s shadow cabinet. He had rejected the consumer society growing around him in favour of what he saw as a ‘higher vision’. This was a romantic dream of an older, tougher, swashbuckling Britain, freed of continental and imperial (now ‘commonwealth’) entanglements, populated by ingenious, hard-working white people rather like himself. For this to become a reality, Britain would need to become a self-sufficient island, which ran entirely against the great forces of the time. His view was fundamentally nostalgic, harking back to the energetic Victorians and Edwardians. He drew sustenance from the people around him, who seemed to be excluded from mainstream politics. He argued that his Wolverhampton constituents had had immigration imposed on them without being asked and against their will.

But viewed from Fleet Street or the pulpits of broadcasting, he was seen as an irrelevance, marching off into the wilderness. In reality, although immigration was changing small patches of the country, mostly in west London, west Birmingham and the Black Country, it had, by 1968, barely impinged as an issue in people’s lives. That was why, at that time, it was relatively easy for the press and media to marginalize Powell and his acolytes in the Tory Party. He was expelled from the shadow cabinet for his anti-immigration speech, not so much for its racialist content, which was mainly given in reported speech, but for suggesting that the race relations legislation was merely throwing a match on gunpowder. This statement was a clear breach of shadow cabinet collective responsibility. Besides, the legislation controlling immigration and regulating race relations had already been passed, so it is difficult to see what Powell had hoped to gain from the speech, apart from embarrassing his nemesis, Ted Heath.

Those who knew Powell best claimed that he was not a racialist. The local newspaper editor, Clem Jones, thought that Enoch’s anti-immigration stance was not ideologically-motivated, but had simply been influenced by the anger of white Wolverhampton people who felt they were being crowded out; even in Powell’s own street of good, solid, Victorian houses, next door went sort of coloured and then another and then another house, and he saw the value of his own house go down. But, Jones added, Powell always worked hard as an MP for all his constituents, mixing with them regardless of colour:

We quite often used to go out for a meal, as a family, to a couple of Indian restaurants, and he was on extremely amiable terms with everybody there, ‘cos having been in India and his wife brought up in India, they liked that kind of food.

On the numbers migrating to Britain, however, Powell’s predicted figures were not totally inaccurate. Just before his 1968 speech, he had suggested that by the end of the century, the number of black and Asian immigrants and their descendants would number between five and seven million, about a tenth of the population. According to the 2001 census, 4.7 million people identified as black or Asian, equivalent to 7.9 per cent of the total population. Immigrants were and are, of course, far more strongly represented in percentage terms in The English cities. Powell may have helped British society by speaking out on an issue which, until then, had remained taboo. However, the language of his discourse still seems quite inflammatory and provocative, even fifty years later, so much so that even historians hesitate to quote them. His words also helped to make the extreme right Nazis of the National Front more acceptable. Furthermore, his core prediction of major civil unrest was not fulfilled, despite riots and street crime linked to disaffected youths from Caribbean immigrant communities in the 1980s. So, in the end, Enoch was not right, though he had a point.

Trains, Planes and Motor Cars:

By the 1960s, British road transport had eclipsed railways as the dominant carrier of freight. In 1958 Britain had gained its first stretch of dedicated, high-speed, limited-access motorway, and by the early 1960s, traffic flow had been eased by a total of a hundred miles (160k) of a three-lane motorway into London (the M1, pictured above). In 1963 there were double the number of cars on the road than there had been in 1953. Motorways allowed fast, convenient commercial and social travel, household incomes were rising, and the real cost of private motoring was falling. Workplace, retail and residential decentralisation encouraged the desertion of trains and a dependence on cars. That dependency was set down between 1958 and 1968. By the mid-sixties, there were brighter-coloured cars on the roads, most notably the Austin Mini, but much of the traffic was still the boxy black, cream or toffee-coloured traffic of the fifties. The great working-class prosperity of the Midlands was based on the last fat years of the manufacture of cars, as well as other goods.

The map above shows what Britain’s transport network looked like by the early seventies. The start of Britain’s largest-ever road-building programme in the 1960s coincided with a more rapid decline in the railways. Roughly half of Britain’s branch-lines and stations had become uneconomic and its assets were therefore reduced. By 1970, the loss of rolling stock, locomotives, workforce, two thousand stations, 280 lines and 250 services meant that the railway network in Britain had been reduced to half of the length it had been in 1900. By the mid-sixties, flight frequencies and passenger loads on intercity air routes were also increasing vigorously. Nonetheless, rail passenger mileage remained stable for most of the second half of the century as rising oil and fuel prices put a ‘brake’ on motor vehicle use in the 1970s. Plans to triple the 660 miles of motorway in use by 1970 were also frustrated by a combination of the resulting economic recession, leading to cutbacks in public expenditure, and environmental protest.

(To be continued… for sources, see part two).