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Bester Preis: € 18,02 (vom 24.04.2017)1
The Cockney Bard
EN NWISBN: 9781910705384 bzw. 1910705381, in Englisch, New Haven Publishing Ltd, neu.
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, in-stock.
Professor Matthew Worley It's 1981 and Britain is burning. The summer has seen riots break out across the country's inner-cities. Newspapers offer stories of 'Mob Rule' (The Sun) and a 'War on Police' (Daily Mail); roving reporters seek explanation in the 'permissive whirlwind' of the 1960s (Daily Express) or the perennial problem of urban decay. Britain is 'close to anarchy', the Daily Mirror insists, as it juxtaposes images of burnt-out cars and broken windows with a message to the government: 'Save Our Cities'. The realities that lay behind the media vision were complex. If the 1970s have since become synonymous with acute social tension and political instability, then the 1980s should really fare no better. For all Britain's being reinvented as a financial centre geared towards the interests of the entrepreneur (and the flags that flew for the Falklands War), Margaret Thatcher's premiership was book-ended by recession and disfigured by fierce industrial struggles and social disorder that culminated in the poll tax riots of 1990. Most disastrously, unemployment became endemic, pushing towards three million in 1981 and rising thereafter. As always, the young working class were particularly vulnerable to the effects of socio-economic change. Government policies designed to eschew commitment to full employment in favour of controlling the money supply and 'freeing' the market from state intervention and trade unionism ensured many were caught in a toxic combination of deindustrialisation, economic depression and political brinksmanship. Put together, youthful frustration, social disadvantage and racial tension coalesced to ferment the unrest that scarred the landscape of the Conservatives' promised 'new beginning'. There were many cultural voices that chartered the events of this time. Punk, reggae and 2-tone each, in their different but often overlapping ways, provided means of social commentary. Famously, The Specials' 'Ghost Town' was number one as the 1981 r.
Professor Matthew Worley It's 1981 and Britain is burning. The summer has seen riots break out across the country's inner-cities. Newspapers offer stories of 'Mob Rule' (The Sun) and a 'War on Police' (Daily Mail); roving reporters seek explanation in the 'permissive whirlwind' of the 1960s (Daily Express) or the perennial problem of urban decay. Britain is 'close to anarchy', the Daily Mirror insists, as it juxtaposes images of burnt-out cars and broken windows with a message to the government: 'Save Our Cities'. The realities that lay behind the media vision were complex. If the 1970s have since become synonymous with acute social tension and political instability, then the 1980s should really fare no better. For all Britain's being reinvented as a financial centre geared towards the interests of the entrepreneur (and the flags that flew for the Falklands War), Margaret Thatcher's premiership was book-ended by recession and disfigured by fierce industrial struggles and social disorder that culminated in the poll tax riots of 1990. Most disastrously, unemployment became endemic, pushing towards three million in 1981 and rising thereafter. As always, the young working class were particularly vulnerable to the effects of socio-economic change. Government policies designed to eschew commitment to full employment in favour of controlling the money supply and 'freeing' the market from state intervention and trade unionism ensured many were caught in a toxic combination of deindustrialisation, economic depression and political brinksmanship. Put together, youthful frustration, social disadvantage and racial tension coalesced to ferment the unrest that scarred the landscape of the Conservatives' promised 'new beginning'. There were many cultural voices that chartered the events of this time. Punk, reggae and 2-tone each, in their different but often overlapping ways, provided means of social commentary. Famously, The Specials' 'Ghost Town' was number one as the 1981 r.
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