Part One: The Economic Storm and Europe.

Denis Healey, chancellor during Britain’s economic storm,

making a characteristic point to his opponents.

The Return of Harold & the Advent of The Social Contract:

In January 1974, the Heath government announced a three-day working week to save fuel. It is remembered as the darkest month, quite literally, in the story of mid-seventies’ Britain. I was in my first year of A Level studies in Birmingham, writing essays on the kitchen table by candlelight since all the lights went out by 10.30 p.m. each evening. At least there was no TV to act as a distraction! Heath and his government struggled to find a solution to the miners’ claim, but this process was hardly helped when he asked Mick McGahey, the legendary Scottish Communist mineworkers’ leader what he really wanted and was met by the typically blunt reply, to bring down the government. After much messing about with intermediaries and mixed messages, not least from the government’s own Pay Board, it became clear that no effective compromise could be found. The miners voted 81% in favour of striking, including those in some of the traditionally most moderate areas in the country. In February, Heath asked the Queen to dissolve Parliament and he went to the country on the election platform he had prepared two years earlier; Who Governs Britain? The country’s answer was not the one he had hoped for.

Harold Wilson had expected the Tories to win another term and began the campaign in a low-key mood. However, Labour’s cause was helped by its offer of a referendum on EEC membership, which led many Powellites and anti-EEC Tories to think of voting for them, at least covertly. Also, his year in opposition had given him the opportunity to come up with a more workable solution to the problems posed by inflation and union wage demands. The Social Contract was a joint agreement between the union leaders and the Labour shadow cabinet, and was essentially a return to the politics of the forties, with price controls, a complex system of food subsidies and the end of the Tory union laws. In return for this Attlee-age ‘austerity’ manifesto, the unions gave vague promises of voluntary pay restraint. It was a one-way deal, but it was in Wilson’s interests to pretend that he could find practical agreements with ‘the brothers’ where Heath could not.  It was in the unions’ interests to pretend that they were signing up to a new era of sweetness and light which would replace the bitter hostility towards the Tories and their anti-union legislation. Outside observers saw it as it as a ploy for the TUC to gain a privileged place in government in return for very little and a recipe for further inflation.

As it turned out, and with the benefit of hindsight, the three-day week was not the outright disaster it had seemed it would be. Industry had managed to maintain production levels, providing an interesting perspective on the limitations of five and six-day working which economists have periodically pointed to since. It had even provided for greater efficiency, and relatively few jobs had been lost. But Heath’s authority had gone, and in the election campaign the idea of the Social Contract caught on with voters. Wilson was able to present himself on television as the calm bringer of reason and order. A slew of bad economic news arrived during the campaign and was followed by Powell’s declaration that he was quitting the Conservatives over their failure to offer a Referendum on Europe and would be recommending everyone to vote Labour in order to ensure a choice on the subject. A mistake by the Pay Board revealed that the miners were more relatively poorly paid than had been recognised. A surge in support for the Liberals to a quarter of the popular vote also helped Labour more than it aided the Tories. Having decided that Heath should not rule, the government seemed undecided about whether Wilson should replace him. Enjoying a late swing in its favour, Labour won the most seats, 301 against 297, but no party had an overall majority. Heath hung on, trying to do a deal with the Liberal leader, Jeremy Thorpe, who had just fourteen MPs despite the surge in the support for the party, but he eventually conceded defeat. This resulted in the Queen asked Harold Wilson to form his third administration, a decade after his first.

But Wilson was governing without a Commons majority at a time when the economy was still coming to terms with the oil price hike, with rampant inflation, rising unemployment and the pound under almost constant pressure. Furthermore, the fragile ‘Social Contract’ had yet to be tested. Almost the first thing the Labour government did was to settle with the miners for almost double what Heath had thought was possible. The chances of the new government enjoying easy popularity, even with its working-class base, were practically nil, however. Nevertheless, an opposition comprising divided Tories, Liberals, Nationalists and Irish Unionists was unlikely to combine to defeat it on a regular basis. The new Chancellor, Denis Healey, introduced an emergency Budget a few weeks into the new Parliament, followed by another in the autumn which raised income tax to 83% at the top rate of earnings, and 98% for unearned income, eye-wateringly high. Healey claimed that his aim was to squeeze the rich until the pips squeak, a phrase which was to come back to haunt Labour for a generation to come. In the spirit of the ‘Social Contract’ Healey also increased help for the poorest, with higher pensions and housing and food subsidies. He was delivering for the unions as promised, just as Wilson himself was doing in abolishing the Conservative employment legislation. Heath remained as Tory leader, for the time being, convinced that Wilson would soon have to call a second election, which he would win. However, when this came in October, Wilson gained eighteen seats, enough to give him a workable overall majority of three.

Wilson, though, had privately decided that he would go in 1976, and he publicly acted accordingly. The question as to who would succeed him, Jenkins or Callaghan, Healey or even Benn, had become one about the direction of the Labour government, rather than a personal threat to Wilson. He seems likely to have known about the early stages of Alzheimer’s, which was to wreak a devastating toll on him in retirement. He forgot facts, confused issues and repeated himself. For a man whose memory and wit had been so important, this was a grim burden. If Roy Jenkins had been Wilson’s most important minister in the mid-sixties, it was Denis Healey who dominated public perceptions of the Labour government of the mid-seventies. As a Chancellor of the Exchequer during the worst economic storm of post-war times, through both the Wilson and Callaghan governments, he rivalled each of them as a public icon. Healey was one of the most widely read, cultured intelligent and self-assured politicians of modern times, whose early Communism, active war service and a vast range of international contacts did much to establish him in this role.

But the economy Wilson and Healey inherited from Heath and Barber in 1974 meant that much of his energy for the next five years would be thrown into dealing with the newly unstable world economy. The following Labour governments faced huge balance-of-payments crises and the tumbling value of the pound. Healey was taxing and cutting as much as he dared, but his only real hope was to control inflation by controlling wages. Wilson insisted that any incomes policy must be voluntary, with no going back to legal restraints. The unions became increasingly worried that rampant inflation might bring back the Tories. So for a while, the ‘Social Contract’ did deliver fewer strikes. In 1974-75, the number of days lost to strikes halved and then halved again in 1976. Contrary to popular myth, the seventies were not all about mass meetings and walk-outs. The real trouble did not start again until 1978-79. But the other half of the ‘Social Contract’ was supposed to deliver lower wage settlements, and this was an utter failure. By the early months of 1975, wage settlements were already running at thirty per cent above inflation. By June inflation was already up to twenty-three per cent and wage settlements were even further ahead. Healey reflected later that…

Adopting a pay policy is rather like jumping out of a second-floor window: no one in his senses would do it unless the stairs were on fire. But in postwar Britain the stairs have always been on fire.

By refusing to allow companies to pass on inflationary wage increases as higher prices, and by endless haggling with union leaders, Healey did manage to squeeze inflation downwards. It had reached twenty-four per cent by 1975 and came to be seen as a far more important issue than unemployment. On reflection, Healey believed that if the unions had kept their promises it would have been down to single figures by the autumn of 1975. The government was also at the mercy of the International Monetary Fund, which insisted on severe spending cuts. The contraction of manufacturing began to accelerate. There was a national and international political swing to the right as a reaction to against perceived high-taxing and high-spending governments. Demands were being made that governments cease propping up ‘lame duck’ industries with public money. Attacks on trade union power were becoming more and more popular, owing to a growing perception that they had become too powerful and disruptive, as the Miners’ Strike and the three-day week had graphically illustrated. At the same time, Healey was under constant pressure within the Labour party and wider ‘movement’ to show that he was delivering for socialism. He never accepted the Tory argument that high taxes stopped people from working harder and blamed Britain’s poor industrial performance on low investment in industry, poor training and bad management. Healey ultimately suffered quite personally from his own policies. He wrote:

As a result of my tax changes and my determination to prevent ministerial salaries from rising as fast as the pay norm, my own real take-home pay as Chancellor fell to only half what I had been earning as Defence Secretary, although I was working harder and longer.

The Great Debate – The EEC Referendum of 1975:

Against the background of the international economic crisis, Wilson kept his election promise and carried out a largely sham renegotiation of Britain’s terms of entry to the EEC. The reopened talks were understood to be more for Wilson’s benefit than for anyone else’s. He needed to persuade people that he was putting a different deal to the country than the one Heath had put to Parliament two years earlier. Helmut Schmidt, the new German Chancellor (pictured below), travelled to London to help win round the Labour conference, a trip that he regarded more as a cosmetic operation than a mission.

Wilson then put the result to the country in the Benn-inspired 1975 referendum, though when the referendum campaign actually began, his old evasiveness returned and he mumbled vaguely in support, rather than actively or enthusiastically making the European case. There were plenty of others to do this for him, however, and the campaign became a rare high-point in the political decade. To preserve longer-term party unity, he allowed the anti-EEC cabinet ministers to speak from the ‘No’ platform and Barbara Castle, Tony Benn, Peter Shore and Michael Foot were among those who did so, in alliance with Enoch Powell, Ian Paisley, the Scottish Nationalists and others. But the ‘Yes’ campaign could boast most of the Labour cabinet, with Roy Jenkins the chief protagonist, plus most of the Heath team, and popular Liberal leader Jeremy Thorpe. Although I missed out on voting by just four days, my eighteenth birthday coming just after referendum day, I remember the sixth form debates, formally in General Studies sessions and informally out on the school playing fields at lunchtime. The arguments ranged from the effects of the Common Agricultural Policy (CAP) on the British economy through to the preservation of peace in Europe. This latter issue was important not just to younger voters, but also to their parents and grandparents who had experienced the Second World War.

Business was also strongly in favour of remaining in, a CBI survey of company chairmen found that out of 419 interviewed, just four were in favour of leaving the Community. Almost all the newspapers were in favour of staying in, including the Daily Mail, Daily Telegraph and Daily Express. So was every Anglican bishop, but their ‘flocks’ were more divided, believing, like my own nonconformist father, that the EEC was a ‘rich man’s club’ formed to rip off the poorer nations more effectively. The fight between ‘the Establishment’ and its critics was far from being funded on an equal basis. Britain in Europe, leading the ‘Yes’ campaign, outspent the ‘No’ camp by more than ten pounds to one. Both sides used scare stories. Britain in Europe constantly warned of a huge loss in jobs if the UK left the Community. The ‘No’ camp warned of huge rises in food prices if Britain remained in the CAP.

Yet this was also an almost carnival-like exercise in participatory democracy of a kind Britain had never seen. There were meetings, several thousand strong, night after night around the country, with hecklers and humour. There were all kinds of stunts and the country was covered with posters. The spectacle of politicians from rival parties who normally attacked one another sitting down together agreeing was a tonic to those watching. There were good television arguments, most notably between Jenkins and Benn. On the Labour side, however, there were awkward moments when rhetoric got too fierce and Wilson had to intervene to mediate between warring minister. Margaret Thatcher was also out campaigning, in a spectacularly hideous jumper with the flags of the member states knitted across her chest. The pictures from the time, shown above and below, captured something of the carnival atmosphere of the campaign.

In the end, the people voted on the simple question on the ballot paper, Do you think the United Kingdom should stay in the European Community (the Common Market)? Their response produced seventeen million, a two-thirds majority (68.3 per cent) voting ‘Yes’, with 32.8 per cent, some 8.5 million voting ‘No’. Only in the Shetland and Western Isles of Scotland were there majorities for ‘No’. Benn instantly conceded defeat though privately considered the vote some achievement considering we had absolutely no real organisation, no newspapers, nothing. Powell, however, warned that the decision was only ‘provisional’ and might be reopened in the future. As so often, his was a lone voice. More than forty years later, and in the light of the 2016 Referendum result, the biggest question which remains is whether the British were told, by either Heath or Jenkins, the full implications of membership of the supranational organisation they were signing up to. Campaigners in 2016 on both ‘Remain’ and ‘Leave’ sides reported that people ‘on the doorstep’ complained that in 1975 we voted to remain in a Common Market, we didn’t vote to join a political union. Many among the third of the people who originally voted to leave the EEC in 1975 were joined by younger people over the following decades in suggesting that Heath and Jenkins had lied to the country, at least by omission, because they had not explained that the European Community’s law and institutions would sit above those of Westminster. What is the truth about this? Britain in Europe campaigners can point to speeches and advertisements which directly mention loss of sovereignty. One of the latter read:

Forty million people died in two European wars this century: Better lose a little national sovereignty than a son or daughter.

Yet both in Parliament and the referendum campaign, although the importance of securing a Pax Europa was constantly featured, the full consequences of membership for national independence were mumbled, not spoken clearly enough. Besides, it was the job of NATO to keep the peace, not the EEC. Undoubtedly, a free trade area in Europe would assist in this process, but it was not the primary purpose of the European Community. Geoffrey Howe, who drafted Heath’s European Communities Bill, later admitted that it could have been more explicit about lost sovereignty. Heath talked directly about the ever closer union of the peoples of Europe but was never precise about the effect on British law, as compared to an incoming tide. It flows into the estuaries and rivers. It cannot be held back. Hugo Young, the journalist and historian who studied the campaign in great detail, wrote:

I traced no major document or speech that said in plain terms that national sovereignty would be lost, still less one that categorically promoted the European Community for its single most striking characteristic that it was an institution positively designed to curb the full independence of the nation-state.

Above: In the 1975 referendum, both sides campaigned more about the cost of food than about the constitutional implications of surrendering sovereignty.

There were, of course, the explicit warnings about lost sovereignty delivered by the ‘No’ campaigners among the more populist arguments about food prices. Above all, these arguments came from Enoch Powell, Michael Foot and Tony Benn. Powell’s language can be gauged from a speech he gave to political journalists in the Commons while the Bill was being debated. He lamented that the Commons was…

…perishing by its own hand. Week by week, month by month, the House of Commons votes to divest itself of what it had gained by through a length of time not much shorter than the History of England itself.

Of course, a lot depends on when you begin your reading of the History of England from, but Powell (pictured above) would almost certainly have traced it back to the end of the tenth century, a period of a thousand years. In fact, the History of Parliament could be traced back only to the early thirteenth century, to the time of the De Montfort Rebellion, and it was only in the seventeenth century that it acquired real power. Michael Foot, though recovering from an operation and so not as prominent in the campaign as he might have been, wrote in The Times that the British parliamentary system had been made farcical and unworkable. Historians, he said, would be amazed…

…that the British people were urged at such a time to tamper irreparably with their most precious institution; to see it circumscribed and contorted and elbowed off the centre of the stage. 

Tony Benn, confiding to his diary his reaction to the possibility of a Europe-wide passport, showed how much the left’s instincts could chime with those of the right-wing opponents of European change:

That really hit me in the guts… Like metrication and decimilisation, this really strikes at our national identity.

All these arguments were made in the press, despite the overall bias, and repeatedly in public meetings and broadcast debates. So it is not as if people were not told, but the truth revealed by opinion polls both at the time and more recently, is that sovereignty as an issue did not, and does not concern the British public as much as jobs and food prices. By later standards under Thatcher, Major and Blair, the position of Parliament was not taken as seriously in public debates as it was by some leading, vociferous parliamentarians. It may be that ‘sovereignty’ as an abstract concept is always only of great interest to the political ‘classes’, not to the ordinary working-classes and professional middle-classes, except where a loss of sovereignty directly impacts on daily life and produces resented laws. In the seventies, as now, Britain’s political class was not highly respected, and Europe seemed to offer a glossier, richer future, especially for younger voters. Though the pro-Community majority in business and politics did not strive to ram home the huge implications of membership, the idea that they deceitfully hid the practical, political nature of what was happening was, and is a myth, a convenient one for those who subsequently changed their minds about the benefits of membership. The argument would return fifteen years later to the Conservative backbenches, though few people cared about it elsewhere until the divisions among Tory MPs spread to the cabinet a full forty years after the first referendum, provoking the second vote on the issue in 2016. This time, the issue of sovereignty was given a popular edge by the ‘inability’ of successive governments to control internal migrations to Britain from within the EU, and their continued failure to control immigration from the Commonwealth and elsewhere in the world.

Goodbye to Ted and Harold, and All That… :

Much of the remaining time of Wilson’s final government was taken up with foreign affairs. Despite American disapproval, the Labour government began the final withdrawal from east of Suez, giving up any pretensions of continuing British influence in the Far East. The Empire was finally, formally, over. A few ‘outposts’ remained, most significantly Hong Kong, and the lines it had drawn on the map in the Middle East – Transjordan, Israel, Iraq – were to provide the focus for continuing and future conflicts. In Iraq, an unpopular king was overthrown in a military coup, leading to the régime of Saddam Hussein. The Commonwealth was never a coherent policy-setting organisation, and this was particularly so after the UK decided to stay in the European Economic Community. Her members often had diametrically opposed trading interests. Time and again, on issues such as Apartheid South Africa, Rhodesia, and questions of migration, the Commonwealth would fracture, or embarrass London. Was it kept going out of nostalgia and sentimentality or to give the Queen a role outside the UK? At least it provided the last English-speaking worldwide ‘club’ not dominated by the USA.

Wilson, by now clearly to the right of the party, was equally determined that Tony Benn would not introduce a socialist economy via the National Enterprise Board. When it eventually arrived, the NEB was a weak, ill-funded repository for lost economic causes, British Leyland in particular. Benn’s enthusiasm for workers’ control continued to irritate most of the other ministers and civil servants he worked with, so that he confided in his diary that he felt like he was trying to swim up the Niagara Falls. He was particularly keen on co-operatives, and took up the cause of the Meriden Motorcycle factory, struggling to survive under workers’ control. But these were the last days in the era of planning and public control of industry and Benn’s support for these made him a traditionalist rather than a radical. Later, Healey brutally summed up his rival’s contribution as minister to British industry. There were only two monuments to Benn in power, he said: a uranium mine in Namibia he had authorised as energy secretary, which helped support apartheid; and Concorde, used by rich people on expense accounts and subsidised by poorer taxpayers.

Wilson retired, as he had always said he would, at the age of sixty. Nevertheless, his announcement astonished his cabinet and left London awash with rumours. He was still witty enough to joke that, in respect of his preferred successor Jim Callaghan, that he was making way for an older man, and wily enough to give Callaghan a tip-off which helped him steal a march on the other candidates, including Healey, who only heard the news of Wilson’s retirement from Wilson himself in the gents toilet before the cabinet meeting at which he formally announced it. Wilson saw his reputation sink steadily downwards with his memory. It was a sad way for a fundamentally decent man to subside.

Meanwhile, in the middle of June 1974, a speech by Sir Keith Joseph signalled a major shift in Tory thinking. Joseph was the son of a rich London businessman, who had risen to become housing and then health minister under first Macmillan and then Heath. He had spent heavily on a bigger bureaucracy for the NHS and higher social security levels. Now he was quite literally wringing his hands and rolling his eyes with mortification. There had, he said, been thirty years of government interventions, good intentions and disappointments, thirty years of socialism under both Labour and the Tories. He admitted: I must take my blame for following too many of the fashions. His conversion to free-market, small-state economics had the force of a religious experience. He had joined the Conservative Party in the 1950s, but now felt that he had never really been a Conservative. Within five years, this kind of thinking would lead to the Thatcher revolution and the wholesale rejection of the Heath years, building on the ideas of academic economists right into the centre of British public life. Other fellow travellers were Americans and a few Powellite Tories who were outside the Tory mainstream. Crucial to the success of these ideas in government would be controlling the amount of money in the economy to keep out inflation, which meant squeezing how much was borrowed and spent by the State. As a former cabinet minister with close and direct experience of government. With his Centre for Policy Studies, he was the rain-maker, the storm-bringer, the Old Testament prophet denouncing his tribe. For now, however, the approaching cloud was no bigger than a man’s hand.

Keith Joseph argued that the Britain of the mid-seventies had a fundamental choice to make between a socialist siege economy or a breakaway into proper liberal capitalism, in effect between Benn and Joseph. He could not have formed his ideas without the libertarian and monetarist thinkers of the fifties and sixties. During the Tories’ years in opposition from 1964 to 1970, Joseph had educated himself in free-market economics and was soon using as his speechwriter Alfred Sherman, an East End boy from a left-wing family who had fought as a machine-gunner in the Spanish Civil War before swinging right round later and becoming an insistent right-wing critic of the British way. But in Heath’s government, Joseph’s radicalism had gone into hiding again, and Sherman described him dismissively as a good man fallen among civil servants. But the defeat of 1974 had shaken Joseph and with other monetarists he began a rethink of the Heath years, culminating in a shadow cabinet post-mortem when they argued that the early radicalism of 1970-71, led by the Cliveden group, had been right, and the subsequent U-turn a disaster. Heath blankly refused to listen, or at any rate to heed, the attack. Heath’s haughty assessment in his autobiography was that Joseph…

…had resumed a friendship with a person called Alfred Sherman, a former communist, and undergone what he liked to call “a conversion” as a result … (this) failed to cut any ice with the great majority of his colleagues, though we did them the courtesy of listening.

In fact, many Tories were beginning to listen. With Joseph were Geoffrey Howe and Margaret Thatcher. Early on, Howe warned,

I am not at all sure about Margaret. Many of her economic prejudices are certainly sound. But she is inclined to be rather too dogmatic for my liking on sensitive matters like education and might actually retard the case by simplification.

There were other new radicals, such as the Powellite MP John Biffen, the young economist Nigel Lawson and a crowd of journalists and academics. They produced an intellectual analysis, hard and uncompromising, which excited a generation of new recruits to the party, while it repelled Tories of the comfortable, compromising Macmillan persuasion. Macmillan himself said of Joseph that he was the only boring Jew I’ve ever known. and later there would be much snide muttering about the men Thatcher learned from and worked with – Hayek, Sherman, Joseph, Lawson and Friedman. Jews were prominent in intellectual thinking on the right, as they had been on the left, bringing opposite lessons to Britain from the disasters of continental Europe. A serious commitment to ideas and old-fashioned attitudes to education gave them their unique influence in politics. Thatcher was open to these ideas, ready to listen, unprejudiced, unlike many traditional Tories.

In the winter of 1974-5, after Heath had lost his second successive election to Wilson, there was no such thing as ‘Thatcherism’. Margaret Thatcher was still expressing her public support for the politics of ‘consensus’. She backed intervention in the housing market and queried the sale of council housing by Tory-run local authorities. Neither was there any sign that she would become the leader of the Tory party. Heath was stubbornly determined to stay on, insisting that his supporters, who included most of the well-known Tories of the day, were backing him in this determination. Indeed, polls suggested that seventy per cent of Tories wanted him to stay on. Yet there was deep dissatisfaction on the Tory benches in Parliament. Sir Edward Du Cann, who chaired the all-important backbenchers’ 1922 Committee, began to take soundings about a challenge to Heath. He was backed by the arch-intriguer Airey Neave, but Neave soon pulled out in favour of Keith Joseph. He then made a catastrophically ill-judged speech in which he suggested that working-class women were having too many babies and should be prevented from degrading the gene pool. This finished the man who Private Eye had already dubbed the mad monk.

Heath had failed to accept that two successive general election defeats meant he really had to go so that Tory moderates were not lining up to replace him. Airey Neave persuaded many of them to vote for Thatcher because she had no chance of defeating Heath, but a contest might force him out, as a ‘stalking horse’, then allowing more serious candidates to stand. On 4 February 1975, she shocked everyone by defeating Heath in the first ballot by 130 votes to 119. She then went on to beat the two other candidates easily. The undercurrent of free-market thinking that had been gurgling around since the fifties broke to the surface in spectacular fashion, changing Britain for good. Few of the Tory MPs in what was called the peasants’ revolt realised quite where their new leader would take them. For the next four years, supercilious, misogynist remarks from first Wilson and then Callaghan would be continually directed against her, but then she would turn her femininity, if not her feminism, against them to great effect. She was to break the mould of the Wilson-Heath era in more ways than one.

(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.

 

In mid-fifties’ Britain, political satire, exuberantly popular in Georgian times, now returned in full force with the advent of the new media of radio and TV. It also featured savage cartoons in the newspapers, staged lampoons and fortnightly mockery in the magazine Private Eye. Among the two million regular listeners to The Goon Show in the mid-fifties were key members of the next generation of comics, men like Jonathan Miller and Peter Cook. The Goons passed the baton to Beyond the Fringe, which passed it to Monty Python’s Flying Circus, from where it went to Little Britain. Each generation built on the humour of the previous one, changed it and then passed it on. Peter Cook, Spike Milligan’s only rival as the outstanding comic genius of his age, sent a schoolboy script to Milligan at the BBC which was good enough for him to be invited up to London for lunch. In turn, the group of comedians who became known as The Pythons were transfixed by Cook and his friends. In the decade that they grew up after the war, Britain was still dominated by the private schools, which were often bleak institutions. The austerity years meant little heating, poor food and few modern facilities, a life conditioned by brutal customs and petty hierarchies often dating back before the Edwardian years to the founding of many of the ‘public schools’ in mid-Victorian times.

Peter Cook’s school, Radley in Oxfordshire, still ’employed’ a régime  which deployed frequent beatings, cold showers, complicated dress codes, compulsory star-jumps, thumpings with hockey sticks for minor transgressions, and a great deal of other forms of bullying, all of which went undeterred by the staff. This forced bright but vulnerable children like Cook to develop mimickry and mockery to deflect bullies. He would make people laugh so that they wouldn’t hit him. Richard Ingrams, editor of Private Eye, attended Shrewsbury School, whose new boys were called ‘douls’ after the Greek for slave; its day started with cold baths; it too had a byzantine dress code, involving different colours of scarf, tie and waistcoat, and when the whole school was sent on cross-country runs, the boys were chased by men with whips. Ingram’s humour was less about mimickry and more about writing mock school magazines with Paul Foot, son of the Labour leader Michael, and Willie Rushton. In many ‘public-private’ schools, such as at John Cleese’s Clifton College in Bristol, boys developed underground languages to cope with their aggressive, closed communities. They knew little of women, which meant that the humour that emerged from them was often ridiculously naive about sex. They were rarely politically radical, since they were from a privileged élite. Cook’s father had been a colonial civil servant in Nigeria and Gibraltar. Ingrams was the son of an eccentric banker and intelligence agent, a one-time member of a pro-Nazi Anglo-German Fellowship Society, and a Catholic mother whose father had been doctor to Queen Victoria. Both men were brought up to look down on the working classes as essentially inferior and comic. Their satire was biting, with underlying layers of anger and hurt. But it would be very public schoolboyish as well, involving much juvenile tittering and snobbery.

The brightest of these ‘boys’ then went on to Cambridge or Oxford, still then mainly male societies, and where in those days there was a direct line from the world of Oxbridge student reviews, like The Cambridge Footlights to the West End theatres. Future satirists mingled with fellow students who would go on to become politicians and business leaders. Peter Cook’s generation at Cambridge in 1957 included the later Conservative cabinet ministers Michael Howard, Kenneth Clarke (just returned sixty years later as an MP and ‘father’ of the House of Commons) and Leon Brittan, as well as various actors and impresarios. Cook’s biographer, Harry Thompson, has pointed out that:

One reason has traditionally produced so many political satirists is that its undergraduates come face to face with their future political leaders at an early age, and realise then quite how many of them are social retards who join debating societies to find friends.

It could be added that the same could be said of those joining theatrical societies and satirical magazines. At Cambridge, Cook simply transferred his monotone sketches about the Radley School butler to his new environment and eventually had half the undergraduates mimicking him and repeating his one-liners. Cook found his voice as a schoolboy and maintained the same deadpan drawl at Cambridge to Edinburgh’s Beyond the Fringe review, to London, New York and global success. Similarly, Ingrams and Rushton transferred their jokes and cartoon characters to the pages of Private Eye. There were, of course, many other comics and satirists from other backgrounds, including Alan Bennett, the Yorkshire grammar school boy and Dudley Moore, the working-class boy from Dagenham who became the other half of the comedy duo with Peter Cook in the TV series Not only… but also… There was also David Frost, the son of a Methodist preacher from Kent. But it was the dominant personalities of Cook and Ingrams which gave them so strong a hold over the satire boom which began in the second half of the fifties. If Cook had any politics of his own, they were difficult to discern, and always took second place to a good punchline, though Fluck and Law, who went on to create the latex satirical puppetry of Spitting Image, were socialist friends of Cook. At the time of the satire boom itself, there was no organic link between the left of British politics and the wave of comedians, mimics and journalists who tore down the facade of Tory Britain towards the end of their thirteen years in power. There could not have been, since too many of the satirists were public schoolboys,  getting their revenge on the nation’s authority figures for the way they had been bullied. Macmillan for them was the image of the head of a decaying prep school, but Labour was also worthy of snobbish ridicule – full as it was with lower middle-class and working-class people with funny accents and petty, mundane concerns.

Ian Fleming was also a fine example of how the British society was tightly twisted at the top. He was yet another Etonian, and yet another character who flitted between journalism, intelligence and high society. From a Scottish banking family, he had tried Sandhurst, foreign correspondence – including in Stalin’s Moscow – and the City, before joining Naval Intelligence during the war. There his wild schemes for sabotage and dirty tricks were widely considered more fit for novels. After the war he ran a network of foreign correspondents and tried to work out ways of moving out of the dreary reality of austerity London. He eventually built a house in Jamaica, then still a colony, which he called Goldeneye. It was here that the Edens fled after the Suez Crisis to recuperate. In different ways, all these people, from Nöel Coward to the newspaper barons, Hugh Gaitskell to the Flemings, were struggling with time warp lives and challenged patriotism. Morals were becoming more fluid and new kinds of pleasure were seeping in. Gaitskell in particular was able to appreciate Fleming’s books, writing of the Bond books in the New Statesman that:

I am a confirmed Fleming fan – or should it be addict? The combination of sex, violence, alcohol and – at intervals – good food and nice clothes is, to one who lives such a circumscribed as I do, irresistable.

There’s probably no better testimony to the way in which the austerity years gave way to the affluent society. James Bond became one of the most successful if mildly ironic symbols of recovering British pride after Suez. From Russia, with Love, first published in Britain in April 1957, is the fifth novel by Fleming to feature his fictional British Secret Service agent. Fleming wrote the story in early 1956 at his Goldeneye estate in Jamaica; at the time he thought it might be his final Bond book. The novel deals with the East–West tensions of the Cold War, and the decline of British power and influence in the post-Second World War era.

Fleming’s sketch showing his concept of the James Bond character.

From Russia, with Love received broadly positive reviews at the time of publication. The book’s sales were boosted by an advertising campaign that played upon a visit by the British Prime Minister’s visit to Fleming’s Goldeneye estate. Fleming’s first work of non-fiction, The Diamond Smugglers, was also published in 1957 and was partly based on background research for his fourth Bond novel, Diamonds Are Forever. Much of the material had appeared in The Sunday Times and was based on Fleming’s interviews with John Collard, a member of the International Diamond Security Organisation who had previously worked in MI5. Even before they were transformed into the endless films, the novels provided a glorious fantasy for a nation in trouble, and in his earlier Bond stories Fleming worked to satisfy the almost pornographic lust of the British for the richer, more colourful consumer culture over the Atlantic. But though Fleming was a connected member of the élite, and had pictured his hero as an Old Etonian, it was a Scottish working-class body-builder, Sean Connery, who was chosen to play him in the first films. After that, Bond became, ironically, something of an outsider figure in the popular imagination, which perhaps helps to explain his endurance as a British cultural icon. Fleming’s original establishment character might not have appealed to a mass film audience in the more egalitarian atmosphere of the sixties.

Source:

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