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This collection of essays highlights the variety of 1970s culture, and shows how it responded to the transformations that were taking place in that most elusive of decades. The 1970s was a period of extraordinary change on the social, sexual and political fronts. Moreover, the culture of the period was revolutionary in a number of ways; it was sometimes florid, innovatory, risk-taking and occasionally awkward and inconsistent. The essays collected here reflect this diversity and analyse many cultural forms of the 1970s. The book includes articles on literature, politics, drama, architecture, film, television, youth cultures, interior design, journalism, and contercultural “happenings”. Its coverage ranges across phenomena as diverse as the Wombles and Woman’s Own. The volume offers an interdisciplinary account of a fascinating period in British cultural history. This book makes an important intervention in the field of 1970s history. It is edited and introduced by Laurel Forster and Sue Harper, both experienced writers, and the book comprises work by both established and emerging scholars. Overall it makes an exciting interpretation of a momentous and colourful period in recent culture.
The late twentieth and early twenty-first centuries are commonly characterised as an age of ‘neoliberalism’ in which individualism, competition, free markets and privatisation came to dominate Britain’s politics, economy and society. This historical framing has proven highly controversial, within both academia and contemporary political and public debate. Standard accounts of neoliberalism generally focus on the influence of political ideas in reshaping British politics; according to this narrative, neoliberalism was a right-wing ideology, peddled by political economists, think-tanks and politicians from the 1930s onwards, which finally triumphed in the 1970s and 1980s. The Neoliberal Age? suggests this narrative is too simplistic. Where the standard story sees neoliberalism as right-wing, this book points to some left-wing origins, too; where the standard story emphasises the agency of think-tanks and politicians, this book shows that other actors from the business world were also highly significant. Where the standard story can suggest that neoliberalism transformed subjectivities and social lives, this book illuminates other forces which helped make Britain more individualistic in the late twentieth century. The analysis thus takes neoliberalism seriously but also shows that it cannot be the only explanatory framework for understanding contemporary Britain. The book showcases cutting-edge research, making it useful to researchers and students, as well as to those interested in understanding the forces that have shaped our recent past.
The most dynamic, relevant and exciting British history book of the year, shedding a whole new light on overlooked recent history in Great Britain.
'A masterful work of social history and cultural commentary, told with much wit. It almost makes you feel as if you were there' ROGER LEWIS, Mail on Sunday The 1970s. They were the best of times and the worst of times. Wealth inequality was at a record low, yet industrial strife was at a record high. These were the glory years of Doctor Who and glam rock, but the darkest days of the Northern Ireland conflict. Beset by strikes, inflation, power cuts and the rise of the far right, the cosy Britain of the post-war consensus was unravelling – in spectacularly lurid style. Fusing high politics and low culture, Crisis? What Crisis? presents a world in which Enoch Powell, Ted Heath and Tony Benn jostle for space with David Bowie, Hilda Ogden and Margo Leadbetter, and reveals why a country exhausted by decline eventually turned to Margaret Thatcher for salvation.
A history of British cultural Marxism. This book traces its development from beginnings in postwar Britain, through transformations in the 1960s and 1970s, to the emergence of British cultural studies at Birmingham, up to the advent of Thatcherism, to reflect a tradition, that represents an effort to resolve the crisis of the postwar British Left.
This classic book is a powerful indictment of contemporary attitudes to race. By accusing British intellectuals and politicians on both sides of the political divide of refusing to take race seriously, Paul Gilroy caused immediate uproar when this book was first published in 1987. A brilliant and explosive exploration of racial discourses, There Ain’t No Black in the Union Jack provided a powerful new direction for race relations in Britain. Still dynamite today and as relevant as ever, this Routledge Classics edition includes a new introduction by the author.
Restaging the Past is the first edited collection devoted to the study of historical pageants in Britain, ranging from their Edwardian origins to the present day. Across Britain in the twentieth century, people succumbed to ‘pageant fever’. Thousands dressed up in historical costumes and performed scenes from the history of the places where they lived, and hundreds of thousands more watched them. These pageants were one of the most significant aspects of popular engagement with the past between the 1900s and the 1970s: they took place in large cities, small towns and tiny villages, and engaged a whole range of different organised groups, including Women’s Institutes, political parties, schools, churches and youth organisations. Pageants were community events, bringing large numbers of people together in a shared celebration and performance of the past; they also involved many prominent novelists, professional historians and other writers, as well as featuring repeatedly in popular and highbrow literature. Although the pageant tradition has largely died out, it deserves to be acknowledged as a key aspect of community history during a period of great social and political change. Indeed, as this book shows, some traces of ‘pageant fever’ remain in evidence today.
In the early 1970s, Britain seemed to be tottering on the brink of the abyss. Under Edward Heath, the optimism of the Sixties had become a distant memory. This book recreates the gaudy, schizophrenic atmosphere of the early Seventies: the world of Enoch Powell and Tony Benn, David Bowie and Brian Clough, Germaine Greer and Mary Whitehouse.
'An active pleasure to read' Mail on Sunday Harold Wilson's famous reference to 'white heat' captured the optimistic spirit of a society in the midst of breathtaking change. From the gaudy pleasures of Swinging London to the tragic bloodshed in Northern Ireland, from the intrigues of Westminster to the drama of the World Cup, British life seemed to have taken on a dramatic new momentum. The memories, images and colourful personalities of those heady times still resonate today: mop-tops and mini-skirts, strikes and demonstrations, Carnaby Street and Kings Road, Harold Wilson and Edward Heath, Mary Quant and Jean Shrimpton, Enoch Powell and Mary Whitehouse, Marianne Faithfull and Mick Jagger. In this wonderfully rich and readable historical narrative, Dominic Sandbrook looks behind the myths of the Swinging Sixties to unearth the contradictions of a society caught between optimism and decline.
In the years following World War II the health and well-being of the nation was of primary concern to the British government. The essays in this collection examine the relationship between health and stress in post-war Britain through a series of carefully connected case studies.