Abstract only
Austerity, abundance and race in post-war visual culture
David C. Wall

(London: Thames and Hudson, 1986), p. 191. 30 T. Crow, The Rise of the Sixties: American and European Art in the Era of Dissent (London: Lawrence King Publishing, 1996), p. 44. 31 Crow, The Rise of the Sixties , p

in Cultures of decolonisation
Abstract only
Stuart Ward

’ thesis has been broadly shared by British cultural historians dealing with the post-1945 era, who have tended to interpret their subject through the multifaceted prism of the Cold War, the post-war consensus, austerity and affluence, the rise of welfarism, the demise of deference, ‘youth culture’, and angry young men who never had it so good as they swung into the sixties. In this spiralling array of

in British culture and the end of empire
Michael Hill

Secretary, wrote a policy document called The State of the Party, in which he linked Labour to science and modernisation. Phillips hoped that this would divert members from arguing over Clause IV and prove the party’s contemporary relevance. The document was presented to the National Executive Committee (NEC) in July 1960 and was even debated at the party conference that year, although it was overlooked because of the row over unilateralism (Haseler, 1969). However, the document eventually evolved to become Signposts for the Sixties and then expanded to become a series of

in Labour orators from Bevan to Miliband
The Smiths and the challenge of Thatcherism
Joseph Brooker

what Patrick Wright called ‘the historicized image of an instinctively conservative establishment’.12 Cultural historians have argued that the popularity of period drama in the era, notably the series of Merchant–Ivory films, belongs to the same mood of English museology. But, in the particular context in question, a different engagement with the past is especially crucial. This is the denigration of the 1960s, and a corresponding revaluation of the 1950s. ‘We are reaping what was sown in the sixties’, Thatcher proclaimed: ‘The fashionable theories and permissive

in Why pamper life's complexities?
The Smiths and kitchen-sink cinema
Cecília Mello

would be any moment in which the point of view (the enunciation) of the director, who in this case is the middle-class outsider, stands out from the supposedly objective narrative of the film. C. Mello, ‘Everyday Voices: The Demotic Impulse in English Post-war Film and Television’ (PhD dissertation, University of London, 2006). N. Cohn, Awopbopaloobopalopbamboom: Pop From the Beginning (London: Pimlico, 2004), pp. 63–4. R. Hewison, Too Much: Art and Society in the Sixties 1960–75 (London: Methuen, 1988), pp. 66–7. Bobby Scott, who was the musical director of Broadway

in Why pamper life's complexities?
Englishness, pop and The Smiths
Kari Kallioniemi

-modern revolt in 1980s pop. He argues that the 1960s were the main reference point: ‘And where all these ideas (in the indie pop of the 80s) converge is in two (very much linked) periods – childhood and the Sixties. The Sixties are like pop’s childhood, when the idea of youth was still young.’34 Oh, Manchester An important element, therefore, of The Smiths’ Englishness was its link to a childhood spent in Manchester in the 1960s and the 1970s. The theme of rootlesness, related to Morrissey and Marr’s Irish background, connected The Smiths to the ‘romantic outsiderism’ of pop

in Why pamper life's complexities?
The roots of 1960s activism and the making of the British left
Celia Hughes

Politics on Tyneside in the Late ’Fifties and Early ’Sixties (Pontypool: Merlin Press, 2007), p. 66; John Charlton, interview, Newcastle-Upon-Tyne, 2 June 2009. 55 John Charlton, interview. 56 P.  Shipley, Revolutionaries in Modern Britain (London: Bodley Head, 1976), pp. 92–5. 5 7 I. Birchall, ‘Building “the Smallest, Mass Revolutionary Party in the World”: Socialist Workers Party, 1951–79’ www.marxists.org/history/etol/revhist/ orthordox/smp/smp1.html, accessed 13 May 2009. 58 A.  Marwick, The Sixties: Cultural Revolution in Britain, France, Italy and the

in Against the grain
Alexander Smith

process: Crucially, the changing developments in party organisation and identity in the sixties are the link between the moderate slippage in support then and the start of the dramatic fall in the seventies. The desire of the party elite to rid itself of a putative sectarian image led to what may be termed, the throwing out of the baby with the bathwater. A crucial aspect of Unionism was an ability to appeal to powerful symbols in Scottish culture which gave the party a Scottish identity irrespective of its stance on devolution. This the Conservative boo-word could not

in Devolution and the Scottish Conservatives
Open Access (free)
The 1970 general election
Steven Fielding

(1993), pp. 346–54. 14 Wilson, Government, pp. 988–9. 15 A. Alexander and A. Watkins, The Making of the Prime Minister 1970 (1970), p. 152. 16 Boldleian Library, Conservative Party Archive, CCO 130/11/4/7, J. Douglas, The public opinion polls in the 1970 general election, 19 November 1970; The Times, 3 August 1970. 17 D. Butler and M. Pinto-Duschinsky, The British General Election of 1970 (1971), pp. 342, 345–51, 386–93. 18 Report of the Sixty-Ninth Annual Conference of the Labour Party (1970), p. 324. 19 Mitchell Library, Scottish Labour Party papers, TD 1384

in The Labour Governments 1964–70 volume 1
Open Access (free)
Janet Wolff

, whether old or ill. I hope this letter reaches you safe and legible. Many warm greetings and kisses. Your mother. There follows a short paragraph from Fanny Maier to her family, telling of the sixty-hour unbroken train journey. Poignantly she says that the thought of seeing their loved ones soon lightens their stay, and that they don’t let their courage fail. She reports that there are visiting hours with the men, in the neighbouring barracks. This, I assume is the Fanny Maier from the Offenburg photo. She was to remain Leonie’s close companion through the following

in Austerity baby