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.

 

Chapter Two: A Social Revolution?

The main achievement of the first quarter century of Elizabeth II’s reign was to be found in the significant expansion of education across England and Wales, caused mainly by the post-war baby boom and the continuing rise in birth-rates throughout the fifties and sixties. This was largely the achievement of the Local Education Authorities, given their statutory responsibilities by the 1944 Butler Act. In Coventry, the Labour-controlled Authority used the selective system to establish most of its initial comprehensive schools and, of the schools that opened in the 1950s, only Binley Park began with a predominantly secondary modern intake. The first head of the Woodlands School told his audience of Rotarians in 1954, that the Comprehensive School is not revolutionary; all the things have been tried time and time again; we have only brought them together. In 1954, the Chairman of the Education Committee was reported as saying that Coventry had decided to build schools where a variety of courses could be provided rather than building a number of different schools. However, Coventry continued to provide secondary education in a variety of different schools alongside its comprehensives: secondary modern schools, two selective grammar schools for girls and a boarding school for boys. In addition, it continued to provide places for boys to attend the two Direct Grant Grammar (later independent) schools in the city.

At this point, it looked as if Labour would win the local elections in 1955 and be able to carry through this plan itself. However, the local elections of May 1955 were preceded by a month of high Cold War controversy. Objections had appeared in the local press as well as among Conservatives against Labour’s opposition to the civil defence plans of the Conservative Government. Councillor Hodgkinson had consistently argued the futility of implementing precautionary measures against a nuclear attack. His wartime experience of Coventry’s Blitz had convinced him that international fraternity was of far more value than local defence expenditure. However, prior to 1955 the issue had been somewhat marginal. The situation changed dramatically in 1955 when a party of delegates from Stalingrad were invited to Coventry by the City Council to repay a visit of the previous year to Russia by its members. The lavish hospitality provided for the guests, no doubt an attempt to match that received in Russia, was widely reported. An article in the Coventry Standard reported how,

Mellowed by an eight course dinner at which vodka and five different kinds of wine were served, the two hundred people who attended the banquet in St Mary’s Hall… to mark the end of the Stalingrad delegation, (listened as the leaders) spoke affectionately of each other’s countries.

The new Soviet leader, Nikita Khrushchev, who had commanded the Soviet troops in Stalingrad during the war.

The visit, albeit during the thaw in the Cold War following Stalin’s death and the speech of Khrushchev (above) to the CPSU Congress, proved to be the moment the Conservatives had been waiting for. The Standard told it readers that the issue before them on polling day was simple, … the Kremlin versus Coventry. It’s Conservatism versus Communism. The Conservatives entered the local election with the slogan, Clear out the Reds. It was also pointed out that the local Labour Party’s view of Civil Defence and the H-bomb was the opposite of the national Party’s policy. The Standard reported that its own survey of the population revealed that Coventrians were equally divided on the Stalingrad issue, but the Conservatives were able to use it to claim that the local Labour Party was dominated by a few extremists who did not represent the views of ordinary Labour voters. Certainly, despite the special relationship with Stalingrad that had been developed through the popular wartime campaign for the opening of a second front, the Party leaders had seriously misjudged the mood of the local population. The city was highly prosperous and enjoying the fruits of Eden’s mixed economy. The Conservatives were enjoying rising fortunes nationally. Moreover, many local workers, particularly those in the aircraft industry, were dependent on the continuation of defence contracts for their livelihood. Five seats, both in the city centre and around the outskirts, including Lower Stoke and Walsgrave were lost by Labour. Most of these wards were relatively affluent areas dominated by skilled or semi-skilled factory workers. Although Sidney Stringer claimed that the campaign had been the most vile in all my years in politics and blamed the result on the local press, they really had only themselves to blame in taking their voters for granted and not guarding against a well-known enemy in the Tory press.

However, the Coventry Labour Party soon appeared to have learnt the lessons of their 1955 losses. Civic adventurism in bricks and mortar, either in the rebuilding of the centre, or the schools around the outskirts, were entirely acceptable, but taking a firm stance on foreign and defence matters was not what local government, even a municipal socialist one, was for. In future, although civic links were established, through the Blitz commemorations, with town and cities around the world, these were low-key in nature and, in the case of eastern Europe, were largely abandoned after the Warsaw Pact invasion of Czechoslovakia in 1968. The message from Labour supporters in the local elections of May 1955 was underlined in the Parliamentary elections that took place the following month. Not only were Labour majorities reduced in Coventry but the eve of poll ritual march from the major factories to Pool Meadow in the city centre, to hear the addresses of the Labour MP’s, Crossman and Edelman, were poorly attended.

There was a cruel irony for Labour in the events of 1955 in that the main energy of the local Party since 1945 had been directed into the rebuilding of the central area of the City. By 1955 the precinct was just beginning to take shape and Coventry’s affluent workers had a shopping centre commensurate with their spending power. Yet the connections between the availability of consumer goods in bright new shops and the ideals of municipal socialism were difficult to make, even amongst the better informed members of the population. What mattered more was the availability of money to spend and Coventry’s capitalist owned industry was providing this in abundance. Perhaps more attention to housing, health, education and housing would have provided a more solid long-term political allegiance for Labour, particularly in the delivery of a top-class comprehensive secondary school system.

 

Above: Grammar School Boy, Harold Wilson, Labour leader and PM

However, the debate about grammar schools was not simply one which existed between the two main political parties, but also within the Labour Party, which had sought to expand grammar school education before the war as a means of social mobility, and a route out of poverty for many working-class children. Ellen Wilkinson, left-wing Education minister in the Attlee Government, had continued with this policy within a tripartite framework which would include multi-lateral schools. Even in the 1960s, it was not unusual for comprehensive schools to be compared with grammar schools by leading members of the Labour Party, including Hugh Gaitskell and Harold Wilson, who referred to comprehensive schools as grammar schools for all, a strategy that was only partly designed to overcome the fears of the general public, especially parents, who resented the abolition of grammar schools. As products of grammar schools themselves, Labour’s local and national politicians well-understood the emotional attachment and sense of aspiration that many respectable working-class parents still had for these schools. However, hard choices about local priorities needed to be made, and these involved building schools which could serve children of all backgrounds and abilities, however they might choose to structure the curriculum.

A similar strategy was used by Alderman Callow, who chaired the Education Committee between 1958 and 1961, and who compared Coventry’s comprehensive schools with grammar schools when writing in the Coventry Evening Telegraph. He argued that comprehensive schools were both grammar schools and secondary modern schools. All eight of the City’s comprehensives provided the same courses in grammar schools but in addition offered all the courses available in secondary modern schools, having the additional advantage of the possibility of changing from one type of course to another within the same school as aptitudes developed. For Callow, therefore, the Coventry comprehensive was little more than one school that combined all the courses that were available in different schools under one roof. Six years later, Alderman Sidney Stringer, then Chairman of the Education Committee, stated that the Authority was bringing into existence many more schools that were equal to grammar schools, providing courses through which pupils could maximise their intellectual abilities.

 

The city still operated a selection examination at eleven plus, provided places at the Direct Grant schools for boys and maintained two grammar schools for girls, and allocated selective places within the comprehensives. The headmaster of Caludon Castle School commented in his speech day address in 1960 that a truly comprehensive shool hasn’t even been brought into existence… though Coventry has created comprehensive buildings it was still without a single comprehensive school because the schools’ incomplete intake prevented their becoming what their names, size and cost proclaimed them to be. In 1964 the head of Whitley Abbey School concluded that Coventry now needed to choose between returning to a grammar and secondary modern school system or go fully comprehensive. He thought that if the Authority continued to abolish secondary modern schools while retaining grammar schools it would result in a situation whereby the comprehensive schools would be little more than secondary moderns within a selective secondary system.   Therefore, in the early 1960s at least, grammar schools and selection were still at the heart of Coventry’s so-called comprehensive revolution.

In Britain as a whole, the paradox was also apparent. The more things changed, the more they stayed the same. In the 1950s, almost everything changed in British society, but only a little. No segment of society, no corner of the kingdom, no aspect of life remained untouched. So, part of the story of the fifties is the story of emergent patterns of change and a sense of discontinuity with the prewar past. However, there was also considerable continuity over the decade itself compared with the decades which were to follow. There was, as yet, no social revolution, unless we mean that the wheel of change came full cycle and returned to exactly where it had been at the beginning of the decade without taking society very far forward.

In October 1963 Harold Wilson, then Labour leader of the opposition, predicted that Britain would be forged in the white heat of the technological revolution. Certainly, living standards continued to rise, aided by the discovery in the North Sea of natural gas in 1965 and oil in 1969, and consumer goods became even more common. But there were also disquieting signs that Britain was approaching an as yet undefined crisis, cultural as well as financial. British economic growth rates did not match those of competitor states, and it was partly for this reason that Britain applied to join the European Economic Community, in 1961 and 1967, entry both times being vetoed by France. In addition, television programmes like Cathy Come Home made the public aware that poverty remained in the midst of Britain’s affluence. The Teddy Boys of the fifties were gradually replaced in the early sixties by Mods and Rockers, their social alienation being fuelled by the new vogue for high-rise flats in which they felt like caged animals. Britain was also becoming a more secular and iconoclastic, as well as a more materialistic society. Sexual intercourse began in 1963, wrote the Coventry-born poet Philip Larkin, perhaps with not a little exaggeration! The 1960s were certainly dramatic years in Britain: demographic trends, especially the increase in the proportion of teenagers in the population, coincided with economic affluence and ideological experimentation to reconfigure social mores to a revolutionary extent.

In 1964 a Labour government had again taken office, under Wilson, after thirteen years of Conservative rule. It promised economic and social modernisation. In an attempt to tackle the residual problem of poverty, public expenditure on social services was expanded considerably, resulting in some small degree of redistribution of income. It issued Circular 10/65 which requested that LEAs provide details of their plans for secondary education with a view to ending selection at the age of eleven in favour of introducing comprehensive schools. Coventry already had a working party in existence which was considering the pattern of secondary education across the city. It was the work of this group which resulted in a shift of emphasis within the LEA and brought about a change in mood on the Education Committee by September 1966. The proposal which emerged was to move towards a fully comprehensive system involving the abolition of the girls’ grammar schools and the disappearance of the remaining secondary moderns.

However, Labour’s ups and downs in the local elections had closely followed national trends since 1955 and in 1966 the Party’s rule in the City was again threatened, this time by the new austerity measures of the Labour Government under Harold Wilson in 1966. Economically, the real problems of the decade arose from the devaluation of the currency in November 1967, and the increase in industrial action. Employment in manufacturing nationally declined, until it accounted for less than a third of the workforce by 1973. Car production slumped and some Coventry firms declared redundancies, as their long boom appeared to be faltering. The incomes policy declared by the Wilson Government was hard to swallow for local engineering workers who had long enjoyed the benefits of free collective bargaining and wage differentials. Thus Coventry began to suffer for the first time since the early thirties with the twin problems of rising unemployment and stagnant wages. By way of contrast, employment in the service sector rose, so that by 1973, over half of all workers in the UK were employed in providing services.

 

Local idealism in Coventry had been toned down since 1955 and by the mid-sixties the Coventry Labour Party had become a party of civic administration. It had run out of new ideas and was failing to attract new, younger members. After a presentation to mark his twentieth year as an MP in December 1965, Richard Crossman wrote in his diary:

I have tended to get depressed about Coventry. … I am… aware of a decline in the Party and a decline in its quality on the council. Mostly it was old people who were there for the presentation; only a handful were young.

This generation gap was to present long-term problems for the local party as the lack of new blood in the sixties and seventies made the party staid and unadventurous. The local Conservatives, by contrast, were able to fight the 1967 local election as the party of opposition to central government as well as local government. They had developed policies on four key local issues. Top of this list was the protection of grammar schools, popular with working-class parents with high aspirations for their children. Secondly, and   predictably, they proposed to prune the rates. The third policy promised council tenants the right to buy their own homes, and the fourth was an especially attractive one on public transport. They proposed a major reduction in fares, which they claimed would produce an increase in passenger numbers and an improved service. They were ably led in the election by Gilbert Richards, and their offensive on national issues, coupled with a new brand of local Tory populism proved decisive.

Labour lost control of the council after thirty years of continuous rule. The average overall turnout across the city was 49 per cent, but in some key marginal wards, such as Wyken, over 60 per cent of the electorate voted. The Tories stayed in power for another three years. Apart from a small degree of financial retrenchment, however, there were few new policy initiatives. Labour’s secondary education proposals were put on hold when the Conservatives gained control of the council. Nevertheless, during their period in power, although the Tories kept their promise to retain the girls grammar schools and continued to purchase places at the direct grant grammar school for boys, the phasing out of the secondary moderns also continued, a further comprehensive was opened, and building programmes went ahead for further comprehensives. After the 1967 local elections, Labour was never again able to recapture the commanding majority it enjoyed in the immediate postwar period. Yet, on the whole, Coventry remained a distinctly Labour city, holding three of the four local Parliamentary seats.

 

Young people were most affected by the changes of the 1960s in Britain as a whole. Education gained new prominence in national government circles and student numbers soared. Higher education in Britain saw particularly rapid expansion over the whole quarter century. In 1938 there had been just twenty thousand students, but by 1962 this figure had increased by nearly a hundred thousand. However, the real increase in numbers came after this, as new plate-glass universities were formed and former colleges of advanced technology were given university status.

By 1972 there were forty-five universities, compared with just seventeen in 1945. By 1966, seven new universities had opened, including the University of East Anglia and the University of Warwick at Canley in Coventry. More importantly, students throughout the country were becoming increasingly radicalised as a growing hostility towards what they perceived as the political and social complacency of the older generation. They protested loudly against poor student accommodation, the unfairness of examination systems, restrictions on academic freedom, civil rights in Northern Ireland, dictatorial decision-making by academic hierarchies, support for the apartheid regime in South Africa, and the Vietnam War. The latter of these issues placed immense strain on the special relationship between the US and British governments. Although protests were generally less violent than those in the US, due partly to more moderate policing in Britain, there were major protest all over the country in 1968 and some, like the one which took place in Grosvenor Square in London, involved police charges against hundreds of thousands of protesters.

                

Anti-establishment and anti-capitalist values spread much wider than the student population. The cultural revolution had a profound effect on sexual behaviour and on women’s rights. Sex before marriage became less taboo and there was a more general feeling of sexual freedom. The Women’s Liberation movement gained considerable ground, leading to the 1970 Equal Pay Act. The family also underwent important changes, many of which had begun in the 1950s with smaller family sizes, aided by changes in the laws on abortion, more widely available and effective contraception, including the pill from 1962, and increased domestic technology. In 1956 only seven per cent of household had had refrigerators; by 1971, this had increased to seventy per cent. By this time, sixty-four per cent of households also had a washing machine. In addition, the rapid and real growth in earnings of young manual workers, sustained over the past decade, had, by the early sixties, created a generation who had money to spend on leisure and luxury. The average British teenager was spending eight pounds a week on clothes, cosmetics, records and cigarettes. In London, their attitude was summed up by the fashion 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.

 

If London was swinging, Liverpool was providing the beat. No band was more important than the Beatles, though there were others who helped to produce the distinctive sound which emerged from Merseyside. The fab four expressed both a vibrant, diverse youth culture and a keen commercial outlook, the latter largely due to their clever manager, Brian Epstein. They provided British teenagers with an identity that cut across the barriers of class, accent, nationality, region and religion. First known as The Quarrymen, they formed in July 1957 and by October 1962 they had hit the all-important top twenty singles’ chart with Love Me Do. In April 1963 From Me to You became their first number one hit single. Between 1957 and 1970 they performed live in eighty-four different venues in England, fifteen in Scotland, six in Wales and two in Ireland. In Dublin, teenagers sang She Loves You on the double-decker buses which had replaced the trams, children imitated them with tennis-raquets, using tree houses for stages in suburban Middle England, each pretending to be a different member of the group, and young mothers sang I Wanna Hold Your Hand as they crossed busy streets to the brand new precincts in Coventry when out shopping with their children.

Beatlemania swept the British Isles, and pretty soon they became a global phenomenon, playing all over Europe, as well as Australia, Japan and, of course, the USA. Meanwhile, a more working-class sub-culture emerged, particularly in London and the South-East, as rival gangs of Mods and Rockers followed hard rock bands like The Who and The Rolling Stones. In the summer of 1964, they rode their mopeds and motorbikes from the London suburbs down to Brighton, where they met up on the beach and staged fights with each other.

 

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 much air time. Anyone wanted to listen to the new artists and groups had to tune into Radio Luxemburg, but reception was often very poor. At Easter 1964, however, the first illegal pirate station, Radio Caroline began broadcasting from a ship just off the Sussex coast. Within months, millions of young people were listening to the station and to others which sprang up, often, to begin with, from transistor radios hidden from prying parents under their bedclothes. Not only did these stations broadcast pop music, but they also warned that any attempt to silence them would constitute a direct attack on youth. Eventually, the BBC gave way and set up Radio One and, in 1967, the Marine Offences Act outlawed the pirate ships.

The event which marked the high point in popular culture for many in Britain, not just England, was the English national football team’s victory in the 1966. The tournament was held in England for the first time, and the team, built around Bobby Charlton, the key Manchester United midfielder who, along with Nobby Stiles, had survived the Munich air crash earlier in the decade, and Bobby Moore, the captain, from West Ham United, who also had two skilfull forwards in the team in Martin Peters and striker Geoff Hurst. Manager Alf Ramsay had been part of the team which had lost 6-3 to Hungary at Wembley thirteen years earlier, their first ever defeat to continental opposition at home, in the run up to the 1954 World Cup. On 3 August they faced the unlikely winners from that year, West Germany, now a much stronger team than the one that had squeaked past a magical but tiring Magyar team in that final. Although a colour cine film recording of the match was made and released later, people watched it live on TV in black and white. Only the hundred thousand at Wembley that day saw the red shirts of the England team raise the Jules Rimet trophy after the match. People’s memories of the details of the whole match vary somewhat, but most remember (in colour, of course) Geoff Hurst’s two extra-time goals and Kenneth Wolstenholme’s commentary because they have watched them replayed so many times. After the match, people dressed up in a bizarre, impromptu mixture of sixties fashion and patriotic bunting and came out to celebrate with family, friends and neighbours just as if it were the end of the war again, or at jubilee street party, copying Nobby’s knobbly-kneed skipping they had just seen on the box. After that, it was downhill all the way to Mexico in 1970 where England’s 3-2 defeat by Beckenbauer, Müller and company seemed to sum up the change in the fortunes and mood of the nation compared with those of a resurgent West Germany. At least, this time, we could watch the golden Brazilian team thrashing the Azurri in colour, usually at a middle-class friend’s house.

Despite the dramatic increase in wealth, coupled with the emergence of distinctive subcultures, technological advances and the dramatic shifts in popular culture, there was a general feeling of disillusionment with Labour’s policies nationally. In the 1970 General Election, the Conservative Party, under its new leader Edward Heath, was returned to power. When the Labour group regained the ascendancy in Coventry in 1970, they sought to press ahead with the plans for fully comprehensive secondary education they had made four years earlier. The Conservatives accepted the demand for comprehensive education but continued to argue that the rights of parents to have their children educated in a grammar school should be respected. Despite this dogged resistance, the Labour proposal was approved by the Council and subsequently by the government, ending the purchase of direct grant places, reorganising the girls’ grammar schools as comprehensives, and ending the eleven plus.

Edward Heath

In addition, the comprehensive schools would be reorganised as community colleges, each serving a defined neighbourhood. The first of these were opened in the academic year 1972-73, one near the city centre (Sidney Stringer) and the other on an estate on the outskirts of the city (Ernesford Grange). These schools were to have a dual function, operating as community centres which would open for up to fifty weeks of the year, six days a week, and for twelve to sixteen hours each day, with the provision of additional buildings, equipment and recreational facilities. However, this development was not fully completed until 1979, when the ninth of these colleges, Alderman Callow, was finally completed to its planned size. These purpose-built colleges took several years to complete due to the need to build by instalments at that time. However, the comprehensive schools within them were all opened by September 1975. The community element provided facilities covering a range of activities and organisations with playgroups, pensioners, parents and children coming together on one site. The concept of the community college was originally developed from Henry Morris’ idea of the village college, but applied to the urban and suburban context in Coventry. Robert Aitken, the Director of Education responsible for its application in the city, also argued that the community dimension would help to overcome the clash between home and school which existed on many working-class housing estates in the sixties and early seventies, developing pupils’ self-respect and utilising the skills of parents and teachers in tandem.

The principles and practices of the Sidney Stringer School and Community College were the best-documented of all the Coventry schools, both by a succession of headteachers and by its general teaching staff and through evaluation in the wider community. The school population was fifty per cent of Asian background, forty per cent European and ten per cent Caribbean. It opened in August 1972 with an intake of nineteen hundred pupils, a hundred and forty teaching and community staff and seventy non-teaching staff. Among the distinctive features of the school were its mode of government, its House system and its curriculum. Arfon Jones, its second head, claimed that two of the key aims of the school were to raise the consciousness of the people in the area and to develop a mode of democratic control. In these terms, the LEA decided to delegate authority and accountability to local people through the governing body, combining its statutory responsibilities with the strengths of a Community Association. Under this system, the Association elected a Council, some of whose members represented it on the Governing Body, which then involved pupils, parents, staff, local residents and LEA representatives in equal numbers. Besides determining the policy of the school and college, the governors had responsibility for the plant, finance and community development. Although there were some gaps between the scheme and the practical realities of managing the facilities, it did represent a bold attempt to make the school government more broadly and genuinely representative of an albeit loosely defined local community.

 

Contrary to popular mythology about Coventry, comprehensive education was only fully established in the 1970s; first in the voluntary controlled sector, when the Catholic schools became fully comprehensive in 1970 and subsequently in 1975 when no further selective places were available for girls and the Authority no longer purchased places outside the maintained sector for boys. The development of comprehensive education was therefore as slow in Coventry as it was in many other LEAs, including Birmingham. Coventry was still operating secondary school selection well into the 1970s, concerned to offer grammar school courses in many of its schools. By that time, the school-leaving age was raised from fifteen to sixteen in 1973. By 1975 the number of comprehensives in Coventry had increased to twenty-one, five of them Church controlled, with an additional LEA boarding school. In total, the number of enrolled pupils stood at 28,538, compared with 20,385 in 1960.

From the early 1950s to the mid 1970s was a long period of economic expansion and demographic growth which helped to fuel educational development in England in general and Coventry in particular. Over these decades the city’s Director’s of Education, the LEA and the schools themselves pioneered different forms of comprehensive schooling and education, so much so that, in the educational imagination, Coventry became synonymous with educational innovation. Yet the evidence suggests that while Coventry was among the first authorities to build schools with the purpose of comprehensive secondary education in view, this was, for the most part, the result of practical imperatives following the war. In common with many other authorities, it then struggled with the process of developing the principles of comprehensive education. Whether, by 1977, a truly comprehensive system of education had been achieved was open to question, at a time when primary school rolls had begun to fall and practical priorities had to be confronted once more. With the benefit of hindsight, through subsequent decades of economic and industrial decline, it still is open to question.