Coping with crises
Ida Milne

the War. 13 The sixty-​eighth annual report (with appendices) of the Inspectors of Lunatics, for the year ending 31 December 1918 (1920), xxi, cmd 579. 14 The sixty-​ninth annual report (with appendices) of the Inspectors of Lunatics (Ireland) for the year ending 31 December 1919 (1921), xv, cmd 1127. 15 The sixty-​ eighth annual report (with appendices) of the Inspectors of Lunatics. 16 Forty-​first report of the General Prisons Board, Ireland, 1918–​1919 (1920), xxiii, cmd 687. 17 Forty-​second report of the General Prisons Board, Ireland, 1919

in Stacking the coffins
Paul Newland

relationships between the characters involved in the production (primarily Mick Jagger, James Fox and Anita Pallenberg) as the film text itself. Further proof of the development of the complex cult reputation of Performance can be found in its inclusion in Ali Catterall and Simon Wells’s 2002 book Your Face Here: British Cult Movies Since the Sixties 36 and Sarah Barrow and John White’s 2008 book Fifty Key British Films . 37 Justin Smith persuasively argues that Performance is an ‘important’ British film because it broke new ground

in British art cinema
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Robert Lister Nicholls

perfectly understandable given that had Wilson allowed a free vote on the issue, it is reasonable to assume that there would have been far more than the sixty-nine MPs voting with the Conservatives. A week prior to the vote, the Tribune editorial suggested that the Labour pro-Marketeers would have much to answer for should they vote to keep the Heath government in power. The editorial posed the question: Who can forgive those who throw away this chance to drive Edward Heath from power now? Certainly not the vast majority

in The British political elite and Europe, 1959–1984
A short history
Sarah Daynes

individuals from every culture, color, or class. Indeed, the great turning point in the evolution of the Rastafari movement took place at the end of the sixties. In 1962, Jamaica gained independence, an event that provoked a social and political explosion that resulted in a phase of intense cultural creativity together with the idea of freedom and the affirmation of Jamaican identity. This period gave birth to reggae music, which has since become one of the strongest emblems of Jamaica. It is rare to find a relationship between a young profane musical style and an already

in Time and memory in reggae music
Dandyism, fashion and subcultural style in Angela Carter’s fiction of the 1960s
Marie Mulvey-Roberts

, Ian ([1994] 2008), Revolution in the Head: The Beatles’ Records and the Sixties (London: Vintage). MacInnes, Colin ([1959] 2001), Absolute Beginners (London: Allison and Busby). McRobbie, Angela (1989), ‘Second-Hand Dresses and the Role of the Ragmarket’, in Angela McRobbie (ed.), Zoot Suits and Secondhand Dresses (Basingstoke: Macmillan), pp. 23–49. O’Day, Marc (1994), ‘“Mutability is Having a Field Day”: The Sixties Aura of Carter’s Bristol Trilogy’, in Lorna Sage (ed.), Flesh and the Mirror: Essays on the Art of Angela Carter (London: Virago), pp. 24–58. Palmer

in The arts of Angela Carter
Marie Mulvey-Roberts

subsequently become known Angela Carter’s poetry 83 as the British Poetry Revival saw an enormous increase in publication outlets: according to Andrew Duncan, ‘there were 2,000 poetry magazines during the Sixties; poetic activity went to an unheard-of height’ (Duncan, 2003: 76). Carter’s poems appeared in just such publications – principally The Aylesford Review (1955–68) and Tlaloc (1964–70). She also had three poems published in Universities’ Poetry, one in the Leeds University student magazine Poetry and Audience, and five poems in a pamphlet anthology entitled Five

in The arts of Angela Carter
Helena Grice

understand Vietnam as though it were a story.’ 6 As the forgoing quotation attests, Kingston’s initial motivation for writing The Fifth Book of Peace was precisely to narrativise the Vietnam War and make the case for an on-going peace. She has always adopted the perspective of the so-called ‘dove critique’ to the war in Vietnam. This view, popularised by the sixties’ antiwar movement, recognised the illegitimacy and corruption of Diem’s South Vietnamese government, and even acknowledged the strategic importance of Vietnam in the cold war political landscape of Southeast

in Maxine Hong Kingston
Debates over cultural conventions in French punk
Jonathyne Briggs

France built upon facsimiles of American rock ’n’ roll, while another critiqued ‘these groups of perverse intellectuals (the Sex Pistols) or fake teenagers (the Ramones) [that] produce a stereotypical music that shamelessly pillages the magical heritage of the Sixties’.41 The same concern that made punk’s transition into France difficult – the issue of authenticity – is not assumed for British punks either, illustrating how French listeners were not accepting of all new trends from across the Channel. Nevertheless, much of this critique hinged upon other British and

in Fight back
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Jane Roscoe and Craig Hight

prefab four: Dirk, Nasty, Stig and Barry, who made the sixties what they are today. The fabulous Rutles. The most telling line from this opening caption is probably ‘the group who made the sixties what they are today’, which carries the suggestion that the sixties are typically reconstructed through a familiar series of icons. The objective of

in Faking it
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Parties and policy making in Ireland
Donnacha Ó Beacháin

formulation and provided little incentive for constructive debate. The upper house of parliament, the Seanad, duplicates rather than challenges the lower house and enjoys far fewer powers. Elected mainly by public representatives and with the Taoiseach nominating eleven of the sixty senators, the Government’s Dáil majority is reproduced in the upper house. In any case, the Seanad can only delay Dáil legislation and during the eight decades following the enactment of the Irish Constitution it has only twice (1957 and 1964) rejected a Dáil bill. While narrowly surviving a

in From Partition to Brexit