The Advent of Brown & Blair:

Tony Blair was far more of an establishment figure than his mentor John Smith, or his great political ‘friend’ and future rival, Gordon Brown. He was the son of a Tory lawyer and went to preparatory school in Durham and then to a fee-paying boarding school in Edinburgh. He then went ‘up’ to Oxford, becoming a barrister and joining the Labour Party before he fell in love with a young Liverpudlian socialist called Cherie Booth, who sharpened his left-wing credentials before he became an MP at the 1983 General Election, winning a safe Labour seat in the north-east of England. Once in the Commons, he quickly fell in with Gordon Brown, another new MP, who was much that Blair was not. He was a tribal Labour Party man from a family which was strongly political and had rarely glimpsed the English Establishment, even its middle ranks from which Blair sprung. Brown had been Scotland’s best-known student politician and player in Scottish Labour politics from the age of twenty-three, followed by a stint in television. Yet the two men had their Christian beliefs in common, Anglo-Catholic in Blair’s case and Presbyterian in Brown’s. Most importantly, they were both deeply impatient with the state of the Labour Party. For seven or eight years they had seemed inseparable, sharing a small office together. Brown tutored Blair in some of the darker arts of politics while Blair explained the thinking of the English metropolitan and suburban middle classes to Brown. Together they made friends with Westminster journalists, both maturing as performers in the Commons, and together they worked their way up the ranks of the shadow cabinet.

After the 1992 defeat, Blair made a bleak public judgement about why Labour had lost so badly. The reason was simple: Labour has not been trusted to fulfil the aspirations of the majority of people in a modern world. As shadow home secretary he began to put that right, promising to be tough on crime and tough on the causes of crime. He was determined to return his party to the common-sense values of Christian Socialism, also influenced by the mixture of socially conservative and economically liberal messages used by Bill Clinton and his ‘New Democrats’. So too was Gordon Brown but as shadow chancellor, his job was to demolish the cherished spending plans of his colleagues. Also, his support for the ERM made him ineffective when Major and Lamont suffered their great defeat. By 1994, the Brown-Blair relationship was less strong than it had been, but they visited the States together to learn the new political style of the Democrats which, to the advantage of Blair, relied heavily on charismatic leadership. Back home, Blair pushed Smith to reform the party rulebook, falling out badly with him in the process. Media commentators began to tip Blair as the next leader, and slowly but surely, the Brown-Blair relationship was turning into a Blair-Brown one.

In the days following the sudden death of the Labour leader, John Smith (pictured right), Tony Blair decided almost immediately to run as his replacement, while Gordon Brown hesitated, perhaps more grief-stricken. But he had assumed he would eventually inherit the leadership, and was aghast when he heard of Blair’s early declaration. There were at least ten face-to-face confrontations between the two men, in London and Edinburgh. In the opinion polls, Blair was shown to be more popular, and he had the backing of more MPs as well as that of the press. Crucial to Blair’s case was his use of received pronunciation which, after Neil Kinnock and John Smith’s heavily accented English, would reassure those more prejudiced parts of the Kingdom which were the main battlegrounds for Labour, and in which Celtic tones were not perhaps as appreciated as they might be nowadays. They were alright when heard from actors and BBC presenters, but they made politicians seem more ‘peripheral’. Brown had a deeper knowledge of the Labour movement and broader support among the trade unions, however, and had also thought through his policy agenda for change in greater detail. Given the vagaries of Labour’s electoral college system, it is impossible to judge, even now, what might have happened had the ‘young English hart’ locked horns with the ‘tough Scottish stag’, but they agreed at the time that it would be disastrous for them to fight each other as two ‘modernisers’ since Brown would have to attack Blair from the left and the unions would then demand their tribute from him if he won.

So the two men came to a deal, culminating in a dinner at a ‘chic’ Islington restaurant. The outcome is still a matter of some dispute, but we know that Blair acknowledged that Brown, as Chancellor in a Labour government, would have complete authority over a wide range of policy which he would direct through the Treasury, including the ‘social justice’ agenda. But it is unlikely that he would have been so arrogant as to agree, as some have suggested, that he would hand over the premiership to Brown after seven years. After all, at that time Labour was already still three years away from winning its first term and not even the sharpest crystal ball could have projected the second term at that juncture. The most significant result of their dinner-table deal was that, following all the battles between Tory premiers and chancellors of the then recent and current Conservative governments, Brown’s Treasury would become a bastion for British home affairs, while Blair was left to concentrate on foreign policy largely unimpeded, with all the tragic consequences with which we are now familiar, with the benefit of the hindsight of the last twenty years.

Team Tony & ‘Blair’s Babes’:

When it arrived, the 1997 General Election demonstrated just what a stunningly efficient and effective election-winning team Tony Blair led, comprising those deadly masters of spin, Alistair Campbell and Peter Mandelson. ‘New Labour’ as it was now officially known, won 419 seats, the largest number ever for the party and comparable only with the seats won by the National Government of 1935. Its Commons majority was also a modern record, 179 seats, and thirty-three more than Attlee’s landslide majority of 1945. The swing of ten per cent from the Conservatives was another post-war record, roughly double that which the 1979 Thatcher victory had produced in the opposite direction. But the turn-out was very low, at seventy-one per cent the lowest since 1935. Labour had won a famous victory but nothing like as many actual votes as John Major had won five years earlier. But Blair’s party also won heavily across the south and in London, in parts of Britain where it had previously been unable to reach or represent in recent times.

As the sun came up on a jubilant, celebrating Labour Party returning to power after an eighteen-year absence, there was a great deal of Bohemian rhapsodizing about a new dawn for Britain. Alistair Campbell had assembled crowds of party workers and supporters to stand along Downing Street waving union flags as the Blairs strode up to claim their victory spoils. Briefly, at least, it appeared that the whole country had turned out to cheer the champions. In deepest, Lib-Con ‘marginal’ Somerset, many of us had been up all night, secretly sipping our Cava in front of the incredible scenes unfolding before our disbelieving eyes, and when the results came in from Basildon and Birmingham Edgbaston (my first constituency at the age of eighteen when it had already been a safe seat for Tory matron Jill Knight for at least a decade), we were sure that this would indeed be a landslide victory, even if we had had to vote for the Liberal Democrats in the West Country just to make sure that there was no way back for the Tories. The victory was due to a small group of self-styled modernisers who had seized the Labour Party and made it a party of the ‘left and centre-left’, at least for the time being, though by the end of the following thirteen years, and after two more elections, they had taken it further to the right than anyone expected on that balmy early summer morning; there was no room for cynicism amid all the euphoria. Labour was rejuvenated, and that was all that mattered.

A record number of women were elected to Parliament, 119, of whom 101 were Labour MPs, the so-called ‘Blair’s babes’. Despite becoming one of the first countries in the world to have a female prime minister, in 1987 there were just 6.3% of women MPs in government in the UK, compared with 10% in Germany and about a third in Norway and Sweden. Only France came below the UK with 5.7%.

Before the large group of women MPs joined her in 1997, Margaret Hodge (pictured below, c.1992, and right, in c. 2015) had already become MP for Barking in a 1994 by-election, following the death of Labour MP Jo Richardson. While still a new MP, Hodge endorsed the candidature of Tony Blair, a former Islington neighbour, for the Labour Party leadership, and was appointed Junior Minister for Disabled People in 1998. Before entering the Commons, she had been Leader of Islington Council and had not been short of invitations from constituencies to stand in the 1992 General Election. Given that she is now referred to as a ‘veteran MP’ it is therefore interesting to note that she had turned these offers down, citing her family commitments:

“It’s been a hard decision; the next logical step is from local to national politics and I would love to be part of a Labour government influencing change. But it’s simply inconsistent with family life, and I have four children who mean a lot to me. 

“It does make me angry that the only way up the political ladder is to work at it twenty-four hours a day, seven days a week. That’s not just inappropriate for a woman who has to look after children or relatives, it’s inappropriate for any normal person.

“The way Parliament functions doesn’t attract me very much. MPs can seem terribly self-obsessed, more interested in their latest media appearance than in creating change.” 

Patricia Hewitt (pictured above, in 1992, and more recently, right) had first begun looking for a seat in the 1970s when she was general secretary of the National Council of Civil Liberties (NCCL). She later commented that… looking for a seat takes an enormous amount of time, and money, too if you’re travelling a lot. Eventually, she was chosen to fight Leicester East in 1983, a contest which she lost by only nine hundred votes to the Conservative in what was then a relatively safe Tory seat. She later recalled driving up to Leicester on two evenings every week:

“I was planning to have a child after the elections – looking back I don’t know I imagined I was going to cope if Labour had won the seat… Even without children, I was leading such a pressured life – and my partner was doing the same as a Labour councillor – that it did put a strain on our relationship.”

She then became Neil Kinnock’s press and broadcasting secretary. In this role, she was a key player in the first stages of the ‘modernisation’ of the Labour Party, and along with Clive Hollick, helped set up the Institute for Public Policy Research and was its deputy director 1989–1994. By the time of the 1992 General Election she had two small children, so she decided not to look for a seat. Following Labour’s defeat in 1992, Hewitt was asked by the new Labour Leader, John Smith, to help establish the Commission on Social Justice, of which she became deputy chair. She then became head of research with Andersen Consulting, remaining in the post during the period 1994–1997. Hewitt was finally elected to Parliament to the House of Commons as the first female MP for Leicester West at the 1997 General Election, following the retirement of Greville Janner. She was elected with a majority of 12,864 and remained the constituency MP until stepping down in 2010.

Mary Kaldor (pictured right in the 1980s, and below in 2000), by contrast, never became an MP, one of the ‘loves’ Labour lost. A British academic, currently Professor of Global Governance at the London School of Economics, where she is also the Director of the Civil Society and Human Security Research Unit, she was the daughter of the economist Nicholas Kaldor, an exiled Hungarian economist who became an adviser to Harold Wilson in the 1960s. In the nineties, she was a senior research fellow at the Science Policy Research Unit of Sussex, and former foreign policy adviser to the Labour Party. She was shortlisted for Hackney and Dulwich in 1981, attending masses of meetings, many of which were boring at which she was endlessly having to be nice to people. Her youngest child was two years old at the time and was therefore ambivalent about the idea of becoming an MP:

“I was very well-equipped with baby minders and a nice understanding husband, but what on earth is the point of having children if you’re not going to see them?

“Building links with eastern Europe through the peace movement was more exciting than anything I could ever have done as an MP … (which seemed) entirely about competitiveness and being in the limelight, giving you no time to think honestly about your political views.”

In 1999, Kaldor supported international military intervention over Kosovo on humanitarian grounds, calling for NATO ground forces to follow aerial bombardment in an article for The Guardian. I have written about the war in Kosovo in a separate article in this series. Significantly, however, by the end of the next decade Kaldor lost faith in the principle and practice of humanitarian intervention, telling the same paper:

The international community makes a terrible mess wherever it goes…

It is hard to find a single example of humanitarian intervention during the 1990s that can be unequivocally declared a success. Especially after Kosovo, the debate about whether human rights can be enforced through military means is ever more intense.

Moreover, the wars in Afghanistan and Iraq, which have been justified in humanitarian terms, have further called into question the case for intervention.

Blair needed the support and encouragement of admirers and friends who would coax and goad him. There was Mandelson, the brilliant but temperamental former media boss, who had now become an MP. Although adored by Blair, he was so mistrusted by other members of the team that Blair’s inner circle gave him the codename ‘Bobby’ (as in Bobby Kennedy). Alistair Campbell, Blair’s press officer and attack-dog is pictured above, in a characteristic ‘pose’. A former journalist and natural propagandist, he had helped orchestrate the campaign of mockery against Major. Then there was Anji Hunter, the contralto charmer who had known Blair as a young rock-singer and was his best hotline to middle England. Derry Irvine was a brilliant Highlands lawyer who had first found a place in his chambers for Blair and Booth. He advised on constitutional change and became Lord Chancellor in due course. These people, with the Brown team working in parallel, formed the inner core. The young David Miliband, son of a well-known Marxist philosopher, provided research support. Among the MPs who were initially close were Marjorie ‘Mo’ Mowlem and Jack Straw, but the most striking aspect about ‘Tony’s team’ was how few elected politicians it included.

The small group of people who put together the New Labour ‘project’ wanted to find a way of governing which helped the worse off, particularly by giving them better chances in education and to find jobs, while not alienating the mass of middle-class voters. They were extraordinarily worried by the press and media, bruised by what had happened to Kinnock, whom they had all worked with, and ruthlessly focused on winning over anyone who could be won. But they were ignorant of what governing would be like. They were able to take power at a golden moment when it would have been possible to fulfil all the pledges they had made. Blair had the wind at his back as the Conservatives would pose no serious threat to him for many years to come. Far from inheriting a weak or crisis-ridden economy, he was actually taking over at the best possible time when the country was recovering strongly but had not yet quite noticed that this was the case. Blair had won by being ruthless, and never forgot it, but he also seemed not to realise quite what an opportunity ‘providence’ had handed him.

Cool Britannia and the Celebrity Princess:

Above: a page from a recent school text.

Tony Blair arrived in power in a country with a revived fashion for celebrity, offering a few politicians new opportunities but at a high cost. It was not until 1988 that the full shape of modern celebrity culture had become apparent. That year had seen the publication of the truly modern glossy glamour magazines when Hello! was launched. Its successful formula was soon copied by OK! from 1993 and many other magazines soon followed suit, to the point where the yards of coloured ‘glossies’ filled the newsagents’ shelves in every town and village in the country. Celebrities were paid handsomely for being interviewed and photographed in return for coverage which was always fawningly respectful and never hostile. The rich and famous, no matter how flawed in real life, were able to shun the mean-minded sniping of the ‘gutter press’, the tabloid newspapers. In the real world, the sunny, airbrushed world of Hello! was inevitably followed by divorces, drunken rows, accidents and ordinary scandals. But people were happy to read good news about these beautiful people even if they knew that there was more to their personalities and relationships than met the eye. In the same year that Hello! went into publication, ITV also launched its the most successful of the daytime television shows, This Morning, hosted from Liverpool by Richard Madeley and Judy Finnigan, providing television’s celebrity breakthrough moment.

This celebrity fantasy world, which continued to open up in all directions throughout the nineties, served to re-emphasise to alert politicians, broadcasting executives and advertisers the considerable power of optimism. The mainstream media in the nineties was giving the British an unending stream of bleakness and disaster, so millions tuned in and turned over to celebrity. That they did so in huge numbers did not mean that they thought that celebrities had universally happy lives. And in the eighties and nineties, no celebrity gleamed more brightly than the beautiful yet troubled Princess Diana. For fifteen years she was an ever-present presence: as an aristocratic girl, whose childhood had been blighted by her parents’ divorce, her fairytale marriage in 1981 found her pledging her life to a much older man who shared few of her interests and did not even seem to be truly in love with her. Just as the monarchy had gained from its marriages, especially the filmed-for-television romance, engagement and wedding of Charles and Diana, the latter attracting a worldwide audience of at least eight hundred million, so it lost commensurately from the failure of those unions.

Above: Hello! looks back on the 1981 Royal Wedding from that of 2011.

Diana quickly learned how to work the crowds and to seduce the cameras like Marilyn Monroe. By the end of the eighties, she had become a living fashion icon. Her eating disorder, bulimia, was one suffered by a growing number of young women and teenage girls from less privileged homes. When AIDS was in the news, she hugged its victims to show that it was safe, and she went on to campaign for a ban on the use of land-mines. The slow disintegration of this marriage transfixed Britain, as Diana moved from a china-doll debutante to painfully thin young mother, to an increasingly charismatic and confident public figure, surprising her husband who had always assumed she would be in his shadow. After the birth of their second son Harry in 1987, Charles and Diana’s marriage was visibly failing.

When rumours spread of her affairs, they no longer had the moral impact that they might have had in previous decades. By the nineties, Britain was now a divorce-prone country, in which ‘what’s best for the kids’ and ‘I deserve to be happy’ were phrases which were regularly heard in suburban kitchen-diners. Diana was not simply a pretty woman married to a king-in-waiting but someone people felt, largely erroneously, would understand them. There was an obsessive aspect to the admiration of her, something that the Royal Family had not seen before, and its leading members found it very uncomfortable and even, at times, alarming. They were being challenged as living symbols of Britain’s ‘family values’ and found wanting, just as John Major’s government would also be hoisted by its own petard as its ‘Back to Basics’ campaign was overwhelmed by an avalanche of sexual and financial scandals.

By the mid-1990s, the monarchy was looking shaky, perhaps even mortal. The strain of being at once a ceremonial and a familial institution was proving a bit much. The year 1992, referred to as the Queen as her ‘annus horribilis’ in her Christmas speech, first saw the separation of the other royal couple, Andrew and Sarah, followed by a major fire at Windsor Castle in November. The journalist Andrew Morton claimed to tell Diana’s True Story in a book which described suicide attempts, blazing rows, her bulimia and her growing certainty that Prince Charles had resumed an affair with his old love Camilla Parker-Bowles, something he later confirmed in a television interview with Jonathan Dimbleby. In December, John Major announced the separation of Charles and Diana to the House of Commons. There was a further blow to the Royal Family’s prestige in 1994 when the royal yacht Britannia, the floating emblem of the monarch’s global presence, was decommissioned.

 Above: Prince William with his mother, c. 1994.

Then came the revelatory 1995 interview on BBC TV’s Panorama programme between Diana and Martin Bashir. Breaking every taboo left in Royal circles, she freely discussed the breakup of her marriage, claiming that there were ‘three of us’ in it, attacked the Windsors for their cruelty and promised to be ‘a queen of people’s hearts’. Finally divorced in 1996, she continued her charity work around the world and began a relationship with Dodi al-Fayed, the son of the owner of Harrods, Mohammed al-Fayed. To many in the establishment, she was a selfish, unhinged woman who was endangering the monarchy. To many millions more, however, she was more valuable than the formal monarchy, her readiness to share her pain in public making her even more fashionable. She was followed all around the world, her face and name selling many papers and magazines. By the late summer of 1997, Britain had two super-celebrities, Tony Blair and Princess Diana.

It was therefore grimly fitting that Tony Blair’s most resonant words as Prime Minister which brought him to the height of his popularity came on the morning when Diana was killed in a car-crash, together with Dodi, in a Paris underpass. Blair was woken from a deep sleep at his constituency home, first to be told about the accident, and then to be told that Diana had died. Deeply shocked and worried about what his proper role should be, Blair spoke first to Campbell and then to the Queen, who told him that neither she nor any other senior member of the Royal Family would be making a statement. He decided, therefore, that he had to say something. Later that Sunday morning, standing in front of his local parish church, he spoke words which were transmitted live around the world:

“I feel, like everyone else in this country today, utterly devastated. Our thoughts and prayers are with Princess Diana’s family, in particular her two sons, her two boys – our hearts go out to them. We are today a nation in a state of shock…

“Her own life was often sadly touched the lives of so many others in Britain and throughout the world with joy and with comfort. How many times shall we remember her in how many different ways, with the sick, the dying, with children, with the needy? With just a look or a gesture that spoke so much more than words, she would reveal to all of us the depth of her compassion and her humanity.

“People everywhere, not just here in Britain, kept faith with Princess Diana. They liked her, they loved her, they regarded her as one of the people. She was – the People’s Princess and that is how she will stay, how she will remain in our hearts and our memories for ever.”

Although these words seem, more than twenty years on, to be reminiscent of past tributes paid to religious leaders, at the time they were much welcomed and assented to. They were the sentiments of one natural charismatic public figure to another. Blair regarded himself as the people’s Prime Minister, leading the people’s party, beyond left and right, beyond faction or ideology, with a direct line to the people’s instincts. After his impromptu eulogy, his approval rating rose to over ninety per cent, a figure not normally witnessed in democracies. Blair and Campbell then paid their greatest service to the ancient institution of the monarchy itself. The Queen, still angry and upset about Diana’s conduct and concerned for the welfare of her grandchildren, wanted a quiet funeral and to remain at Balmoral, away from the scenes of public mourning in London. However, this was potentially disastrous for her public image. There was a strange mood in the country deriving from Diana’s charisma, which Blair had referenced in his words at Trimdon. If those words had seemed to suggest that Diana was a saint, a sub-religious hysteria responded to the thought. People queued to sign a book of condolence at St James’ Palace, rather than signing it online on the website of the Prince of Wales. Those queuing even reported supernatural appearances of the dead Princess’ image. By contrast, the lack of any act of public mourning by the Windsors and the suggestion of a quiet funeral seemed to confirm Diana’s television criticisms of the Royal Family as being cold if not cruel towards her.

In particular, the Queen was criticised for following protocol, which prohibited the flying of flags at Buckingham Palace when she was not in residence, rather than fulfilling the deep need of a grief-stricken public to see the Union flag flying there at half-mast. According to another protocol, flags were only flown at half-mast on the deaths of the monarch or their immediate blood relatives. But the crown lives or dies by such symbolic moments, and the Queen relented. Also, with Prince Charles’ full agreement, Blair and his aides put pressure on the Palace first into accepting that there would have to be a huge public funeral so that the public could express their grief, and second into accepting that the Queen should return to London. She did, just in time to quieten the genuine and growing anger about her perceived attitude towards Diana. This was a generational problem as well as a class one. The Queen had been brought up in a land of buttoned lips, stoicism and private grieving. She now reigned over a country which expected and almost required exhibitionism. For some years, the deaths of children, or the scenes of fatal accidents had been marked by little shrines of cellophane-wrapped flowers, soft toys and cards. In the run-up to Diana’s funeral parts of central London seemed almost Mediterranean in their public grieving. There were vast mounds of flowers, people sleeping out, holding up placards and weeping in the streets, strangers hugging each other.

The immense outpouring of public emotion in the weeks that followed seemed both to overwhelm and distinguish itself from the more traditional devotion to the Queen herself and to her immediate family. The crisis was rescued by a live, televised speech she made from the Palace which was striking in its informality and obviously sincere expression of personal sorrow. As Simon Schama has put it,

The tidal wave of feeling that swept over the country testified to the sustained need of the public to come together in a recognizable community of sentiment, and to do so as the people of a democratic monarchy.

The funeral itself was like no other before, bringing the capital to a standstill. In Westminster Abbey, campaigners stood alongside aristocrats, entertainers with politicians and rock musicians with charity workers. Elton John performed a hastily rewritten version of ‘Candle in the Wind’, originally his lament for Marilyn Monroe, now dedicated to ‘England’s Rose’, and Princess Diana’s brother Earl Spencer made a half-coded attack from the pulpit on the Windsors’ treatment of his sister. This was applauded when it was relayed outside and clapping was heard in the Abbey itself. Diana’s body was driven to her last resting place at the Spencers’ ancestral home of Althorp in Northamptonshire. Nearly a decade later, and following many wild theories circulated through cyberspace which reappeared regularly in the press, an inquiry headed by a former Metropolitan Police commissioner concluded that she had died because the driver of her car was drunk and was speeding in order to throw off pursuing ‘paparazzi’ photographers. The Queen recovered her standing after her live broadcast about her wayward former daughter-in-law. She would later rise again in public esteem to be seen to be one of the most successful monarchs for centuries and the longest-serving ever. A popular film about her, including a sympathetic portrayal of these events, sealed this verdict.

HM Queen Elizabeth II in 2001.

Tony Blair never again quite captured the mood of the country as he did in those sad late summer days. It may be that his advice and assistance to the Queen in 1997 was as vital to her as it was, in the view of Palace officials, thoroughly impertinent. His instinct for popular culture when he arrived in power was certainly uncanny. The New Age spiritualism which came out into the open when Diana died was echoed among Blair’s Downing Street circle. What other politicians failed to grasp and what he did grasp, was the power of optimism expressed in the glossy world of celebrity, and the willingness of people to forgive their favourites not just once, but again and again. One of the negative longer-term consequences of all this was that charismatic celebrities discovered that, if they apologised and bared a little of their souls in public, they could get away with most things short of murder. For politicians, even charismatic ones like Blair, life would prove a little tougher, and the electorate would be less forgiving of oft-repeated mistakes.

(to be continued).

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.