0:00:02 > 0:00:04In the first programme we saw how four decades
0:00:04 > 0:00:08and two world wars brought us from a sharply defined class hierarchy
0:00:08 > 0:00:10to the brink of real change.
0:00:10 > 0:00:12By the late 1940s, here in Britain,
0:00:12 > 0:00:14we had new reforming Labour government,
0:00:14 > 0:00:16a National Health Service,
0:00:16 > 0:00:19the start of a welfare state, a whiff of socialism.
0:00:19 > 0:00:23For the first time, more young people than ever were being released
0:00:23 > 0:00:26into opportunities previously denied their families.
0:00:26 > 0:00:28I was one of them.
0:00:33 > 0:00:36This is Wigton in Cumbria and this is where, at 11,
0:00:36 > 0:00:40I went to school - the Nelson Grammar, as it was then.
0:00:41 > 0:00:45It was once a fee-paying school, but after the Butler Act in 1944,
0:00:45 > 0:00:49if you passed a scholarship you could come for free, and people flooded in.
0:00:49 > 0:00:52Now, it's a comprehensive school.
0:00:52 > 0:00:56That's one of the changes that's happened since the Second World War.
0:01:02 > 0:01:06In the post-war years, culture, especially popular culture,
0:01:06 > 0:01:09driven by lower-middle classes and working classes,
0:01:09 > 0:01:12seemed to obliterate the need for the old class distinctions.
0:01:12 > 0:01:14I certainly felt that.
0:01:14 > 0:01:19What you were didn't depend any longer on all that centuries-old stuff.
0:01:19 > 0:01:21You were indifferent to it.
0:01:21 > 0:01:24What mattered was what you listened to,
0:01:24 > 0:01:27what you watched on television, what you read.
0:01:27 > 0:01:29That was where you were anchored.
0:01:29 > 0:01:33But the old systems, driven by private education, land ownership
0:01:33 > 0:01:37and the historical power of upper class taste, were still there.
0:01:37 > 0:01:41Were they just lying quiet or were they on the way out?
0:02:11 > 0:02:18# It's a lovely day tomorrow... #
0:02:18 > 0:02:23This is Liverpool - once a great, rich, north-western city,
0:02:23 > 0:02:26its riches built on the cotton trade and the slave trade,
0:02:26 > 0:02:31rich in squares and buildings and still over 2,000 listed monuments here.
0:02:31 > 0:02:33But its very riches and docklands and industry
0:02:33 > 0:02:37made it a target for the Germans in the Second World War
0:02:37 > 0:02:42and it was the most heavily bombed city by the Luftwaffe next to London.
0:02:42 > 0:02:46Liverpool would rebuild - its docks and shipyards would prosper again.
0:02:46 > 0:02:51It was a city whose people had suffered great deprivations both before and during the war,
0:02:51 > 0:02:54but it would become a crucible for a new culture
0:02:54 > 0:02:58and supply key figures in a new generation that would define it.
0:02:58 > 0:03:02It was this generation that would decide that they too could
0:03:02 > 0:03:06write the books and make the films and make the television plays and do the art and make the music.
0:03:06 > 0:03:12Art goes where energy is, and in the working class and lower-middle class,
0:03:12 > 0:03:16there was tremendous energy, and it came out and it took over.
0:03:16 > 0:03:19# You make me dizzy, dizzy Lizzy
0:03:19 > 0:03:22# Oh, babe, you look so fine
0:03:22 > 0:03:25# You're just a-rockin' and a-rollin'
0:03:25 > 0:03:29# I wish you were mine... #
0:03:30 > 0:03:33But, for most people across the classes, it was grim.
0:03:33 > 0:03:37Pressures in the late '40s and early '50s came from chronic shortage of money
0:03:37 > 0:03:41and the rationing that was there for years after the war.
0:03:42 > 0:03:46So an optimistic Festival of Britain was planned for 1951
0:03:46 > 0:03:48by the new Labour government.
0:03:48 > 0:03:52It was to look to the future - a festival of culture and technology -
0:03:52 > 0:03:54to echo the Great Exhibition of 1851.
0:03:55 > 0:03:58It attracted 8.5 million visitors,
0:03:58 > 0:04:01many of them here on London's South Bank.
0:04:01 > 0:04:05In this time of austerity, the idea was that culture was important
0:04:05 > 0:04:09and could be central in bringing people together.
0:04:09 > 0:04:12For many, it was a way out, a way of bettering themselves.
0:04:12 > 0:04:17It was an idea which was to flourish strongly over the next 60 or 70 years.
0:04:17 > 0:04:20So is it possible to characterise and generalise
0:04:20 > 0:04:23these people who came to the Festival Hall here
0:04:23 > 0:04:26and festival sites all over the country just after the War?
0:04:26 > 0:04:29Were they worn out by the War?
0:04:29 > 0:04:33Were they content with the systems that they found in class and culture
0:04:33 > 0:04:36or were they looking for something new, something different,
0:04:36 > 0:04:40something that marked them out having come through this experience?
0:04:40 > 0:04:43Certainly there was a seed bed here for what would become
0:04:43 > 0:04:46a rather radical change over the next 40 years.
0:04:47 > 0:04:51There were some, as there always are of whatever class,
0:04:51 > 0:04:55who were happy to enjoy themselves when they could, unconcerned with arts and culture.
0:04:55 > 0:04:57But others were hungry for something else
0:04:57 > 0:05:00and they sought it out not always in the obvious places.
0:05:03 > 0:05:06There's a survey that shows that in the late 1940s
0:05:06 > 0:05:11only one in ten of working-class people claimed to read books as a hobby.
0:05:11 > 0:05:15There were three in ten middle-class people read books as a hobby,
0:05:15 > 0:05:19mostly crime fiction and romance, with Dickens thrown in now and then.
0:05:19 > 0:05:21But the newspapers were widely read
0:05:21 > 0:05:23and they contained some fine writers.
0:05:23 > 0:05:26I remember reading Cassandra in the Daily Mirror,
0:05:26 > 0:05:29and there was the Herald, and on Sunday there was the News Of The World.
0:05:29 > 0:05:31All human life is there.
0:05:31 > 0:05:37As well as newspapers, most people got their entertainment and their culture from the radio.
0:05:37 > 0:05:40As well as listening to comedy, they could listen to concerts,
0:05:40 > 0:05:44even if they couldn't come here, to the Royal Festival Hall in London.
0:05:44 > 0:05:49It was still variety, music hall - very, very considerable audiences.
0:05:49 > 0:05:53And the reconstruction of the radio, the wireless, after the war,
0:05:53 > 0:05:56reflected the old class structure
0:05:56 > 0:05:59because it was the Light Programme for the masses,
0:05:59 > 0:06:02the Home Service for the middle class, thinking classes,
0:06:02 > 0:06:07and the Third Programme for the class, the classy ones.
0:06:07 > 0:06:11And the idea was that people would move up this ladder.
0:06:11 > 0:06:14It was amazingly patronising when you look back at it now,
0:06:14 > 0:06:17- but it was terribly high-minded. - There was a bit of idealism in it.
0:06:17 > 0:06:20- We're in a middle-class place. - We're in a temple of it.
0:06:20 > 0:06:23What did this represent culturally for the middle classes in 1951?
0:06:23 > 0:06:28It stood out like a glowing optimistic good deed in a very drab austere world, this one.
0:06:28 > 0:06:33I remember coming here in the '50s as a little boy and being so taken with it
0:06:33 > 0:06:36that I used to go home and use my bricks -
0:06:36 > 0:06:39that shows the level of technology we kids had - to recreate this.
0:06:39 > 0:06:44The aristocracy, what place did the aristocracy see itself as playing then?
0:06:44 > 0:06:48Well, the aristocracy wasn't uniformly culturally sensitive
0:06:48 > 0:06:52but they all, as far as I can see, from top to bottom
0:06:52 > 0:06:57had a sense of custodianship - that on their walls were these extraordinary pictures
0:06:57 > 0:07:01and those walls themselves were the product of the best architects of the 18th century.
0:07:01 > 0:07:05There's a feeling they gave out that they had been badly hit.
0:07:05 > 0:07:09Oh, British aristocracy, it's had more comebacks than Judy Garland.
0:07:09 > 0:07:11They're phenomenally good at it.
0:07:17 > 0:07:21Two world wars had appeared to leave the British aristocracy battered.
0:07:21 > 0:07:24Great loss of privileges.
0:07:24 > 0:07:27There was a shortage of cash, there was a shortage of servants,
0:07:27 > 0:07:30but this very small group of people still owned
0:07:30 > 0:07:33more than 50% of the land in this country.
0:07:41 > 0:07:43Land was to be held on to at all costs
0:07:43 > 0:07:46but houses were a different matter.
0:07:46 > 0:07:51The upkeep of these great houses, regarded since the 18th century as national treasures,
0:07:51 > 0:07:56was to prove a pressing problem for many of those who owned them.
0:07:56 > 0:08:00But there were some smart enough to see the post-war changes as an opportunity.
0:08:01 > 0:08:05This is Woburn Abbey, or part of it.
0:08:08 > 0:08:11The 13th Duke threw open the doors and the gates to people
0:08:11 > 0:08:15who probably wouldn't have been admitted before and he did it with gusto.
0:08:15 > 0:08:20His snobbish contemporaries whispered and looked down on him but he went for it.
0:08:20 > 0:08:23"I love meeting them and talking to them," he said.
0:08:23 > 0:08:27"We're perfectly happy to share the pleasures of the estate with our visitors."
0:08:27 > 0:08:30He'd identified the notion of a family day out
0:08:30 > 0:08:35and turned this place into one of the big centres for family outings.
0:08:39 > 0:08:43At Woburn Abbey it wasn't just a case of displaying artistic treasures
0:08:43 > 0:08:46but of offering animals and fair rides and fun.
0:08:46 > 0:08:50It might have been a case of, you can come this far and no further,
0:08:50 > 0:08:54but the old duke had sensed that a new energy, and money with it,
0:08:54 > 0:08:57was beginning to flow from those below him
0:08:57 > 0:09:02and he, like his friend Lord Montague of Beaulieu, risked ridicule to reach it.
0:09:02 > 0:09:06# The stately homes of England How beautiful they stand
0:09:06 > 0:09:10# To prove the upper classes Have still the upper hand
0:09:10 > 0:09:12# Though the fact that they have to be rebuilt
0:09:12 > 0:09:14# And frequently mortgaged to the hilt
0:09:14 > 0:09:17# Is inclined to take the gilt
0:09:17 > 0:09:19# Off the gingerbread And certainly damps the fun... #
0:09:19 > 0:09:24The 13th Duke saved Woburn, and now his grandson, Andrew,
0:09:24 > 0:09:27the 15th Duke, runs the family business.
0:09:27 > 0:09:30When we started this 100 years ago, in 1911,
0:09:30 > 0:09:35there would have been no question that the aristocracy owned a lot of the culture.
0:09:35 > 0:09:39They literally owned it. They owned the great paintings. They were patrons.
0:09:39 > 0:09:44They got things like the Royal Ballet going and so on.
0:09:44 > 0:09:50- And you think that all that has gradually eased away now? - I would say diminished.
0:09:50 > 0:09:53I think you can look at things like the ballet, in particular,
0:09:53 > 0:09:58is supported, but I wouldn't say it was supported by aristocrats.
0:09:58 > 0:10:02I would say that you look at a lot of, you know, self-made people now.
0:10:02 > 0:10:04What do you think is the biggest change in the position
0:10:04 > 0:10:08and perception of the aristocracy since your grandfather's day?
0:10:08 > 0:10:11I remember my mother telling me that years ago,
0:10:11 > 0:10:17when they used to go to the cinema, they would ring up and say they were coming
0:10:17 > 0:10:22and they would be met by the General Manager of whatever cinema they were going to.
0:10:22 > 0:10:27This is very different. She's only 70 now, so we're talking 50 years ago.
0:10:27 > 0:10:30You know, one can't conceive of such a thing today.
0:10:30 > 0:10:33You just line up and stick your credit card in and get your tickets.
0:10:35 > 0:10:38Many of the visitors to Woburn would have worked in the towns
0:10:38 > 0:10:42and cities, commuting each day to and from the ever-growing suburbs.
0:10:42 > 0:10:47Here was the middle class and it was expanding by the day.
0:10:47 > 0:10:50"Gaily into Ruislip Gardens Runs the red electric train
0:10:50 > 0:10:53"With a thousand Tas and Pardons
0:10:53 > 0:10:56"Daintily alights Elaine
0:10:56 > 0:11:00"Hurries down the concrete station With a frown of concentration
0:11:00 > 0:11:04"Out into the outskirt's edges Where a few surviving hedges
0:11:04 > 0:11:08"Keep alive our lost Elysium - rural Middlesex again."
0:11:08 > 0:11:13The poet John Betjeman was a great success in the '50s with the middle classes,
0:11:13 > 0:11:16though he could be a snobbish observer of its lower reaches.
0:11:16 > 0:11:20There was a terrific amount of snobbery about, despite,
0:11:20 > 0:11:24or perhaps in reaction to, the egalitarian spirit of the war years.
0:11:24 > 0:11:27The upper-class writer, Nancy Mitford,
0:11:27 > 0:11:30famously wrote about U and non-U vocabulary.
0:11:31 > 0:11:36The writer Ferdinand Mount is himself a baronet who chooses not to use his title.
0:11:36 > 0:11:40What did he make of these 1950s snobberies?
0:11:40 > 0:11:44There was still, in this country, almost an addiction
0:11:44 > 0:11:47to nuances and gradations of class
0:11:47 > 0:11:52in what you wore, the way you spoke, of course. It never stops, that(!)
0:11:52 > 0:11:55What you wore, the way you spoke, how you dressed.
0:11:55 > 0:12:00Yes, or the way you addressed an envelope to anybody.
0:12:00 > 0:12:05Did you address it to Melvyn Bragg Esquire
0:12:05 > 0:12:07or Mr Melvyn Bragg?
0:12:07 > 0:12:12That probably meant he was a tradesman you owed money to
0:12:12 > 0:12:16and the cover was, sort of, blown by Nancy Mitford
0:12:16 > 0:12:19in her famous article on U and Non-U
0:12:19 > 0:12:24in which she exposed these, to her, very important differences.
0:12:24 > 0:12:28Whether you said "notepaper" or "writing paper",
0:12:28 > 0:12:31whether you said "chimneypiece" or "mantelpiece".
0:12:31 > 0:12:36I mean, there was a whole language devoted to differentiating
0:12:36 > 0:12:40between those who put the milk in first and those who put it in second,
0:12:40 > 0:12:42one of which was supposed to be better than the other.
0:12:42 > 0:12:45Part of John Betjeman's success
0:12:45 > 0:12:49was that he had found a plain, accessible voice for his poetry.
0:12:49 > 0:12:52It was a very different voice from the intellectual, TS Eliot,
0:12:52 > 0:12:55that pre-war hero of Bloomsbury and the intelligentsia.
0:12:55 > 0:12:59Betjeman was now joined by the poet Philip Larkin
0:12:59 > 0:13:02in speaking for the world that was emerging in the 1950s.
0:13:03 > 0:13:07"The large cool store selling cheap clothes
0:13:07 > 0:13:10"Set out in simple sizes plainly -
0:13:10 > 0:13:14"Knitwear, Summer Casuals, Hose
0:13:14 > 0:13:18"In browns and greys, maroon and navy
0:13:18 > 0:13:21"Conjures the weekday world of those
0:13:21 > 0:13:25"Who leave at dawn low terraced houses
0:13:25 > 0:13:28"Timed for factory, yard and site."
0:13:28 > 0:13:31Larkin's poetry, though perhaps gloomier than Betjeman's,
0:13:31 > 0:13:35is at the same time more accepting of the modern world.
0:13:35 > 0:13:39What one writes is based so much on the kind of person one is
0:13:39 > 0:13:43and the kind of environment one's had and has now
0:13:43 > 0:13:47that one doesn't really choose the poetry one writes.
0:13:47 > 0:13:50One writes the kind of poetry one has to write or can write.
0:13:50 > 0:13:53Betjeman and Larkin admired each other, but, for me,
0:13:53 > 0:13:58Betjeman's poetry betrays a prejudice against the modern that tips into snobbery.
0:13:58 > 0:14:04His famous line, "Come friendly bombs and fall on Slough," written in 1937,
0:14:04 > 0:14:07is not only disdainful, but unthinking,
0:14:07 > 0:14:10at a time when war threatened and Spain had already been bombed.
0:14:10 > 0:14:13There was quite a bit of snobbery in Betjeman.
0:14:13 > 0:14:20Like any interesting writer, there's several different things going on at the same time
0:14:20 > 0:14:25so there's certainly a snobbery about, you know, "Phone for the fish knives, Norman,"
0:14:25 > 0:14:30that poem which uses every kind of phrase which was regarded as common,
0:14:30 > 0:14:32um, for comic effect.
0:14:32 > 0:14:37But at the same time there's a much broader sympathy
0:14:37 > 0:14:43for the disregarded, the unglamorous, the dim -
0:14:43 > 0:14:45both buildings and people.
0:14:53 > 0:14:56A new outburst of building in the '20s and '30s
0:14:56 > 0:14:59led to the building of suburbs such as this
0:14:59 > 0:15:03which, by the 1950s, were firmly the home of the middle classes,
0:15:03 > 0:15:06from lower-income, white-collar workers
0:15:06 > 0:15:09to accountants, teachers, solicitors,
0:15:09 > 0:15:12up to company directors and chief executives.
0:15:12 > 0:15:16They were held together by common values, if not by similar incomes,
0:15:16 > 0:15:20and they saw themselves as the mainstay of the '50s,
0:15:20 > 0:15:24and this place is a place that defined them.
0:15:24 > 0:15:27It was their tastes which predominated in that decade.
0:15:27 > 0:15:30'There was a certain exclusivity to this sort of life.
0:15:30 > 0:15:33While the aristocracy had found a clever way to keep
0:15:33 > 0:15:38their estates for themselves, the middle classes tried to do the same.
0:15:38 > 0:15:42They wanted to keep out those from below, many of whom were now keen to move up.
0:15:42 > 0:15:47Its codes were enshrined in social clubs and private schools and what you wore.
0:15:47 > 0:15:50The middle classes dressed as their parents had done.
0:15:50 > 0:15:53Respectability and aspiration were key.
0:15:56 > 0:15:59It was tennis and bridge and the Home Service
0:15:59 > 0:16:02and the local library and the car and mortgages
0:16:02 > 0:16:05and prospects of holidays abroad and gardening.
0:16:05 > 0:16:07And there was also going to the cinema,
0:16:07 > 0:16:11people around here went to the cinema in droves.
0:16:12 > 0:16:15But radio was still the dominant medium.
0:16:15 > 0:16:20On a night in 1952, millions of people would have tuned in to some of this.
0:16:20 > 0:16:24'For the next 30 minutes, it's Ticket From HMS Indefatigable
0:16:24 > 0:16:28'with Joy Nicholls, Dick Bentley and Jimmy Edwards.'
0:16:28 > 0:16:32Just as before the war, accent continued to be a strong indicator of class - or cla-a-ss.
0:16:32 > 0:16:37Although regional voices were heard on radio, the top presenters and announcers
0:16:37 > 0:16:40were required to speak with a BBC accent,
0:16:40 > 0:16:44received pronunciation, and most of the upwardly mobile, lowwer-middle class
0:16:44 > 0:16:49and middle class decided to temper or eradicate their regional accents.
0:16:49 > 0:16:52So that we get something like this.
0:16:52 > 0:16:59SPEAKS INAUDIBLY QUICKLY
0:16:59 > 0:17:05But radio and cinema were about to be overtaken by the new, great, democratic medium of television.
0:17:05 > 0:17:09But what drove television into people's homes was the Monarchy.
0:17:10 > 0:17:16It was the Queen's coronation in 1953 that pulled off the trick.
0:17:16 > 0:17:21People rushed to buy sets to be able to see this Royal event for the first time in history.
0:17:21 > 0:17:26In one way, they felt closer to Royalty than ever before
0:17:26 > 0:17:31but this new proximity also defined the sharpness of the gap.
0:17:31 > 0:17:34It wasn't just the coronation, of course.
0:17:34 > 0:17:39People had more leisure time and it was easier and warmer to stay in than go to the cinema,
0:17:39 > 0:17:42but it took a while, together with the start of ITV in 1955,
0:17:42 > 0:17:47to reach television viewers across the class barriers.
0:17:47 > 0:17:49In the early days, televisions were expensive
0:17:49 > 0:17:52and they were largely bought by the middle class,
0:17:52 > 0:17:56and the BBC in those days was largely run by the middle class, the officer class.
0:17:56 > 0:18:01They appeared on it, they ran it and they made it in their own image.
0:18:01 > 0:18:04- Sir Laurence Olivier. - How are you?
0:18:04 > 0:18:07Not here tonight as an actor, but... How would you describe yourself?
0:18:07 > 0:18:09- Well, I'm a manager. - A manager.
0:18:09 > 0:18:12The BBC seemed to dictate the way we spoke,
0:18:12 > 0:18:14the way we dressed, the way we behaved,
0:18:14 > 0:18:19to reinforce our perceptions of our class and culture, if not the reality.
0:18:19 > 0:18:21It was a new medium
0:18:21 > 0:18:25but it was very reluctant at first to leave behind the old hierarchies.
0:18:25 > 0:18:27'What's My Line?'
0:18:29 > 0:18:33We will of course show you what the challenger does for a living and here it comes.
0:18:33 > 0:18:37- Isobel Barnett.- Good evening. Do you work indoors?- Yes.
0:18:37 > 0:18:41Is it something that's a service rather than making something?
0:18:41 > 0:18:42- Yes. Yes.- Right.
0:18:42 > 0:18:47If we were in a certain place, you would do this service for us. Is that right?
0:18:47 > 0:18:53- Yes. Yes.- If you were younger, I'd say you were one of those gorgeous little boys in buttons,
0:18:53 > 0:18:55- but you can't be. - APPLAUSE
0:18:55 > 0:18:56A page?
0:18:58 > 0:19:02Television programmes like these reflected the middle class, its manners and values.
0:19:02 > 0:19:06The only way of getting on in life, it seemed, would be to adopt these.
0:19:06 > 0:19:09But a new generation now emerging from the post-war gloom
0:19:09 > 0:19:13saw things differently and they wrote about it.
0:19:13 > 0:19:18Out of the conservatism of the early '50s came an explosion of books.
0:19:18 > 0:19:23First off was the novel, Lucky Jim, from Larkin's friend, Kingsley Amis.
0:19:23 > 0:19:25Then Room At The Top from John Braine.
0:19:25 > 0:19:30These young writers found a voice that refused to accept tradition.
0:19:30 > 0:19:33They were against what they saw as upper-class arrogance
0:19:33 > 0:19:36but equally against a genteel middle-class way of life.
0:19:36 > 0:19:42But theirs was a cultural revolt, not a political one, more DH Lawrence than Nye Bevan.
0:19:42 > 0:19:47Alan Sillitoe's novel, Saturday Night And Sunday Morning, was made into an outstanding film.
0:19:47 > 0:19:52It made a star of Albert Finney who paid the young Arthur Seaton in his own authentic voice,
0:19:52 > 0:19:56a young factory worker whose main aim in life is to enjoy himself
0:19:56 > 0:20:01but is also frustrated by the conventions of his own class that restrict him.
0:20:01 > 0:20:03'Fred's all right.
0:20:03 > 0:20:07'He's one of them who knows how to spend his money, like me.
0:20:07 > 0:20:11'Enjoys himself. That's more than them poor beggars know.
0:20:11 > 0:20:14'They got ground down before the war and never got over it.
0:20:14 > 0:20:19'I'd like to see anybody try to grind me down. That'd be the day.
0:20:21 > 0:20:25'What I'm out for is a good time. All the rest is propaganda.'
0:20:26 > 0:20:28It was this small theatre in Chelsea
0:20:28 > 0:20:32that became the focal point of what became a revolution.
0:20:32 > 0:20:37Overnight, it seemed, the middle-class grip on the culture was finally overthrown.
0:20:37 > 0:20:40Do the Sunday papers make you feel ignorant?
0:20:40 > 0:20:43- Not half.- Well, you are ignorant. You're just a peasant.
0:20:44 > 0:20:45What about you?
0:20:45 > 0:20:49- You're not a peasant, are you?- What's that?
0:20:49 > 0:20:54- I said, do the papers make you feel you're not so brilliant after all? - I haven't read them yet.
0:20:54 > 0:20:58- I didn't ask you that. I said... - Oh, leave the poor girlie alone. She's busy.
0:20:58 > 0:21:01Well, she can talk, can't she? You can talk, can't you?
0:21:01 > 0:21:05You can express an opinion. Or does the white woman's burden make it impossible to think?
0:21:05 > 0:21:10The opening of John Osborne's play Look Back In Anger in 1956
0:21:10 > 0:21:14seemed to define a moment when the culture in this country changed gear.
0:21:14 > 0:21:19All right, dear, go back to sleep. It was only me talking. You know, talking, remember?
0:21:19 > 0:21:22- I'm sorry.- Stop yelling. I'm trying to read.
0:21:22 > 0:21:25I don't know why you bother. You can't understand a word of it.
0:21:25 > 0:21:31Up till this time, playwrights such as Terence Rattigan and Noel Coward
0:21:31 > 0:21:32were the favourites in the West End.
0:21:32 > 0:21:36They'd established their reputation before the Second World War
0:21:36 > 0:21:40and they had that sensibility which drew from the upper classes and the upper-middle classes.
0:21:40 > 0:21:44Osborne's lead character, Jimmy Porter,
0:21:44 > 0:21:47was the embodiment of the '50s angry young men and women,
0:21:47 > 0:21:50lower-middle class, clever and discontented.
0:21:50 > 0:21:53These young people were different from Albert Finney's Arthur Seaton.
0:21:53 > 0:21:56They were better educated, but they shared a hunger for something new.
0:21:56 > 0:22:00They weren't content to look round an aristocrat's safari park.
0:22:00 > 0:22:03They were looking to take over the culture.
0:22:03 > 0:22:06Being in here reminds me very clearly
0:22:06 > 0:22:10of when I started to come to this theatre, here at the Royal Court,
0:22:10 > 0:22:11in the early 1960s.
0:22:11 > 0:22:14I came to London to work in 1961.
0:22:15 > 0:22:20And this was... some sort of sceptred place.
0:22:20 > 0:22:24I came from the working class, which you've probably heard too much about,
0:22:24 > 0:22:27and England being England I'd known the trivial slights
0:22:27 > 0:22:31and pinpricks of snobbery, and that great spider web
0:22:31 > 0:22:36which we still have in this country, run by the smugs and the duds
0:22:36 > 0:22:39and the perpetually fearful, but that didn't matter very much.
0:22:39 > 0:22:44But here, and from what came from here, it didn't matter at all.
0:22:44 > 0:22:49It was swept away. Something else completely was going on.
0:22:49 > 0:22:52There was this feeling of a great rush through.
0:22:54 > 0:22:58The playwright impact had ramifications way beyond the theatre.
0:22:58 > 0:23:01Writers and musicians and artists from the lower-middle
0:23:01 > 0:23:04and the working classes poured through the breach.
0:23:04 > 0:23:07But the great centre of this was in television.
0:23:07 > 0:23:10Look Back In Anger was seen by relatively few people
0:23:10 > 0:23:12in a theatre in London.
0:23:12 > 0:23:16It wasn't until work like this was shown on TV that its full impact was felt.
0:23:16 > 0:23:22What happened was that a new bunch of people came into the theatre,
0:23:22 > 0:23:25into novel writing, into advertising, into photography,
0:23:25 > 0:23:28into films and into television.
0:23:28 > 0:23:31I'm here in Lime Grove in west London
0:23:31 > 0:23:34where I came in 1962 to join BBC Television.
0:23:34 > 0:23:38This was a place - in these houses were our offices -
0:23:38 > 0:23:42which seethed with the idea that a new generation
0:23:42 > 0:23:47could get hold of the mass means of communication and change things.
0:23:47 > 0:23:52Over at ITV, Coronation Street had begun its extraordinary run.
0:23:52 > 0:23:56And now, here too at the BBC, a new sort of programming emerged -
0:23:56 > 0:23:58drama and documentary -
0:23:58 > 0:24:02and it drew in both middle-class and working-class audiences.
0:24:02 > 0:24:04Oh, there was one place we did go to,
0:24:04 > 0:24:06and I thought we were going to have a chance.
0:24:06 > 0:24:09They said six pounds, and the next thing we heard,
0:24:09 > 0:24:11someone had offered them eight.
0:24:11 > 0:24:12So that put the cap on that.
0:24:12 > 0:24:17In the Wednesday play strand, as in Coronation Street, ordinary people
0:24:17 > 0:24:21were now seeing their own lives as worthy of serious attention.
0:24:21 > 0:24:23Television was entertaining, yes,
0:24:23 > 0:24:26but in class terms the change was immense.
0:24:26 > 0:24:30Young writers and directors, like Ken Loach, understood that the power of theatre,
0:24:30 > 0:24:35previously a middle-class preserve, could be projected much further.
0:24:35 > 0:24:39His drama, Cathy Come Home, about homelessness, struck a nerve
0:24:39 > 0:24:41and pulled in a wide audience.
0:24:41 > 0:24:47In 1963, the BBC was probably as open, I guess, as it's been.
0:24:47 > 0:24:50Later I moved on to the Wednesday Play
0:24:50 > 0:24:54and the people involved in that had a very clear idea
0:24:54 > 0:24:58of what contemporary television drama could be,
0:24:58 > 0:25:02and that would have a strong working-class character.
0:25:02 > 0:25:06The aim was to try to show not only the surface of life
0:25:06 > 0:25:10but the class conflicts within it.
0:25:10 > 0:25:14And the idea of class conflict was something that you talked about,
0:25:14 > 0:25:19- that you intended to pursue? - I don't think we had any illusions. I mean, even in our youthful stage
0:25:19 > 0:25:22we didn't have any illusions about what we could change,
0:25:22 > 0:25:26but that was the proper function of drama,
0:25:26 > 0:25:31was to illuminate and illustrate and clarify and sharpen
0:25:31 > 0:25:34the way we saw the world, really.
0:25:34 > 0:25:41Of course, we were only one stream within a much broader, complex organisation
0:25:41 > 0:25:45and a lot of the other stuff was very traditional,
0:25:45 > 0:25:49very establishment, right wing in our terms.
0:25:49 > 0:25:53So, I don't think it was true that the BBC as a whole
0:25:53 > 0:25:57was taken over by a bunch of lefties. Far from it.
0:25:57 > 0:26:00Directors, like Loach, and writers, like Dennis Potter,
0:26:00 > 0:26:04were determined to find a voice both for the class they came from
0:26:04 > 0:26:07and, in Potter's case, a voice for those, like himself,
0:26:07 > 0:26:09who wanted to get out and move up.
0:26:10 > 0:26:15No-one who has been brought up in a working class culture,
0:26:15 > 0:26:20can ever altogether escape, or wish to escape...
0:26:21 > 0:26:24..the almost suffocating warmth
0:26:24 > 0:26:27and friendliness of that culture.
0:26:28 > 0:26:33But, and this is what I mean by the personal element,
0:26:33 > 0:26:37as soon as you cross the frontiers between one class and another,
0:26:37 > 0:26:44you feel... I feel...as though you're negotiating a minefield.
0:26:44 > 0:26:47Dennis Potter's play was about a young working-class man
0:26:47 > 0:26:50who won a scholarship from his local grammar school to university,
0:26:50 > 0:26:52as Potter did, as I did.
0:26:52 > 0:26:54It was a story being repeated all over the country.
0:26:54 > 0:26:57Your services seem to be very much in demand.
0:26:57 > 0:27:00Why not? Everyone's gone to the moon.
0:27:00 > 0:27:04- That's this place, all right. - Some moon.
0:27:04 > 0:27:07Bright and shiny when you're a long way off.
0:27:07 > 0:27:09Cold and grey and dark when you get there.
0:27:09 > 0:27:13- Who said that?- I did.
0:27:13 > 0:27:16You mean you actually talk like that?
0:27:16 > 0:27:19It doesn't sound right with your accent.
0:27:19 > 0:27:22Patronising bitch, aren't you?
0:27:22 > 0:27:25Not everything was new, of course, but it was the mass of it.
0:27:25 > 0:27:27Wherever you looked around the place,
0:27:27 > 0:27:29people were trying new things, doing new things,
0:27:29 > 0:27:34hoping to get into trouble, wanting to change things, taking their turn.
0:27:34 > 0:27:38What was new was a third channel that now attempted to satisfy
0:27:38 > 0:27:40a hunger for a wider access to culture.
0:27:40 > 0:27:43It was a channel designed for self-betterment.
0:27:43 > 0:27:45We always watch BBC2 on Mondays.
0:27:45 > 0:27:48I like it best of all the programmes.
0:27:48 > 0:27:51I think it's very good because it has lots of concerts and things on it.
0:27:51 > 0:27:54Do you want me to be honest? I prefer ITV.
0:27:54 > 0:27:57With the arrival of BBC2 in 1964,
0:27:57 > 0:27:59television, like radio before it,
0:27:59 > 0:28:01replicated the three-tier class system.
0:28:01 > 0:28:05BBC2 at the top end, BBC1 in the middle
0:28:05 > 0:28:08and ITV at the market end, although, to be fair to ITV,
0:28:08 > 0:28:12they used to a lot of public service broadcasting as well.
0:28:12 > 0:28:15There were plenty who resented this new group
0:28:15 > 0:28:17who were pushing from below at the class barriers.
0:28:17 > 0:28:19The writer, Evelyn Waugh,
0:28:19 > 0:28:23had satirised his own generation to great effect in his early novels
0:28:23 > 0:28:27but deeply disliked the new world in which he found himself.
0:28:27 > 0:28:30You're a great deal luckier than many people
0:28:30 > 0:28:32because you made something of a fortune before the war,
0:28:32 > 0:28:36- before it was all taxed away. - Not a penny. Never saved a penny.
0:28:36 > 0:28:37You never saved it?
0:28:37 > 0:28:40No honest man has been able to save any money in the last 20 years.
0:28:40 > 0:28:43An appearance on Face To Face was an accolade
0:28:43 > 0:28:46given only to the middle aged and distinguished.
0:28:46 > 0:28:50# What do you want if you don't want money? #
0:28:50 > 0:28:54But the BBC now paid lip service - or was it homage? -
0:28:54 > 0:28:56to the changes around them.
0:28:56 > 0:29:00They put 20-year-old pop singer, Adam Faith, in the establishment chair.
0:29:00 > 0:29:03His was a different voice that ran alongside
0:29:03 > 0:29:05those of the highly-educated grammar school boys.
0:29:05 > 0:29:09When you wake up tomorrow morning and go outside the house, the people...
0:29:09 > 0:29:12- The flat.- ..in your own street, the flat..- Yeah.
0:29:12 > 0:29:14The local people in your own street will see you,
0:29:14 > 0:29:18will you be mobbed by fans then, or do they accept you in your own home?
0:29:18 > 0:29:24They accept me very much. I live on an estate of council flats
0:29:24 > 0:29:28and having lived there for so long,
0:29:28 > 0:29:32I haven't found any difference amongst them at all.
0:29:32 > 0:29:35- You're still Terry Nelhams to them? - Completely, yeah.
0:29:35 > 0:29:38The respect accorded to the views of this young man
0:29:38 > 0:29:41reflected a radically new economic and cultural reality.
0:29:41 > 0:29:44By the early '60s, there are about five million teenagers
0:29:44 > 0:29:48and they had around £800 million to spend.
0:29:48 > 0:29:54It was as if these teenagers picked up the baton handed on by the angry young men and ran with it.
0:29:54 > 0:29:58They weren't prepared to live by old class distinctions.
0:29:58 > 0:30:00It was the teddy boys who fired things,
0:30:00 > 0:30:04mimicking an older upper class in their Edwardian suits,
0:30:04 > 0:30:06calling the more conventionally dressed uppers "peasants",
0:30:06 > 0:30:10and then a new set of working-class dandies emerged, the mods.
0:30:10 > 0:30:13Like Arthur Seaton in Saturday Night And Sunday Morning,
0:30:13 > 0:30:15their main aim was to have a good time.
0:30:15 > 0:30:18They were energetic, but frustrated too,
0:30:18 > 0:30:20and were looking for a way to say so.
0:30:22 > 0:30:27In the early '60s, the south coast's beaches were the stages for clashes
0:30:27 > 0:30:29between the young mods and the rockers,
0:30:29 > 0:30:33two largely working-class tribes that terrified the middle classes.
0:30:33 > 0:30:36'Vermin, hoodlums, sawdust Caesars,
0:30:36 > 0:30:38'were among the names magistrates applied to them.
0:30:38 > 0:30:42'Authority was determined that the rule of the tearaway should be brief.'
0:30:42 > 0:30:46Pete Townshend of The Who began as a mod
0:30:46 > 0:30:48and later wrote his rock opera, Quadrophenia,
0:30:48 > 0:30:50against the backdrop of these battles.
0:30:50 > 0:30:55His was a voice that found a way to speak for those who, so far,
0:30:55 > 0:30:59had felt alienated from a middle-class culture.
0:30:59 > 0:31:02Sausage, egg, chips, beans, gentlemen.
0:31:02 > 0:31:03Steak pie, chips and beans.
0:31:03 > 0:31:06When did you define yourself as a mod,
0:31:06 > 0:31:11and was this a generational thing or was it anything to do with class?
0:31:11 > 0:31:13It was definitely for me to do with class.
0:31:13 > 0:31:17It wasn't just working class, but it was driven by the working classes.
0:31:17 > 0:31:21Now, your generation came along, and you're very much in the front of that,
0:31:21 > 0:31:24and one of the things you started doing quite early on
0:31:24 > 0:31:27was taking control of the material.
0:31:27 > 0:31:34After the first song that I wrote had been recorded for The Who successfully, I Can't Explain,
0:31:34 > 0:31:36I was summoned by a group of mods who came,
0:31:36 > 0:31:40there were five of them, and they said we need to tell you something
0:31:40 > 0:31:43and it is that we love this song that you've written,
0:31:43 > 0:31:45and I said, "Well, what is it that you love about it?"
0:31:45 > 0:31:48And they couldn't explain what they loved about my song,
0:31:48 > 0:31:50I Can't Explain.
0:31:50 > 0:31:54And at one point, one of them said - he's a mod from Cork in Ireland -
0:31:54 > 0:31:56"That's what we want you to do,
0:31:56 > 0:32:02"write more songs about the fact that we can't explain what it is that we want you to do."
0:32:02 > 0:32:07So, in a sense, those songs were commissioned by that little group, and they were...
0:32:07 > 0:32:09- Working class mods. - Yeah.
0:32:09 > 0:32:13# Why don't you all.... just fade away? #
0:32:14 > 0:32:19# And don't try and dig what we all s-s-s-say
0:32:19 > 0:32:24# I'm not trying to c-c-c-cause a big sensation
0:32:24 > 0:32:27# I'm just talking about my g-g-g-generation
0:32:27 > 0:32:30# My generation... #
0:32:30 > 0:32:35The Who's first managers were Kit Lambert, an upper-class boy from Lancing public school,
0:32:35 > 0:32:38and Chris Stamp, a working-class cockney.
0:32:38 > 0:32:41Theirs was a very '60s partnership.
0:32:41 > 0:32:46It was magical because Kit was a Lancing boy
0:32:46 > 0:32:49and Chris was an extremely good-looking man,
0:32:49 > 0:32:52very mod-like, mod haircut, mod suits.
0:32:54 > 0:32:58His friends weren't just through his brother, Terence,
0:32:58 > 0:33:01who was a big film star at the time and still is,
0:33:01 > 0:33:06but, you know, through him Michael Caine, Terry Donovan, David Bailey.
0:33:06 > 0:33:11When I was 18 or 19, I had a flat in Chesham Place,
0:33:11 > 0:33:12right in the middle of Belgravia.
0:33:12 > 0:33:15I couldn't function there. I just couldn't function.
0:33:15 > 0:33:18I couldn't buy milk without somebody in a fur coat saying,
0:33:18 > 0:33:20"Get out of the way, boy!" you know.
0:33:20 > 0:33:25I didn't know how to handle the established upper classes
0:33:25 > 0:33:27that occupied the place at the time.
0:33:27 > 0:33:31Kit and Chris lived together, you know,
0:33:31 > 0:33:34and Chris was always, "Hey, taxi!"
0:33:35 > 0:33:40And Kit would, you know, "No, we're in Belgravia. Cab!"
0:33:40 > 0:33:45"Cab! Cab!" "Taxi!" "Cab!" Which one do you pick?
0:33:45 > 0:33:48It was that kind of incredible power tension.
0:33:48 > 0:33:50They worked incredibly well together.
0:33:50 > 0:33:54Do you think class continued to figure?
0:33:54 > 0:33:59You know, the band that did the most to, kind of, crack that was The Stones.
0:33:59 > 0:34:04You know, Mick Jagger would enlist anybody that came in the room.
0:34:04 > 0:34:07He seemed to be completely classless.
0:34:07 > 0:34:10And by '64, '65, when I got to know him well,
0:34:10 > 0:34:14he was already... He already had the house in Cheyne Walk
0:34:14 > 0:34:19and parties with titled people and, you know, Lucien Freud.
0:34:19 > 0:34:23With the invasion of Belgravia and Chelsea by the young pop stars,
0:34:23 > 0:34:26and the educated boys and girls storming the media,
0:34:26 > 0:34:29there was a brand-new sort of middle class.
0:34:29 > 0:34:32From it emerged a group with the confidence to mock the old order
0:34:32 > 0:34:35and the likes of Nancy Mitford and U and non-U.
0:34:35 > 0:34:38These new satirists, unlike most of the post-war comedians,
0:34:38 > 0:34:42were university and often public school educated
0:34:42 > 0:34:43and they set about ridiculing
0:34:43 > 0:34:46the social codes and values of their parents.
0:34:46 > 0:34:48Perkins.
0:34:48 > 0:34:50- Sir. - I want you to lay down your life.
0:34:50 > 0:34:51Yes, sir.
0:34:51 > 0:34:53We need a futile gesture at this stage.
0:34:53 > 0:34:55LAUGHTER
0:34:55 > 0:34:58It will raise the whole tone of the war.
0:34:58 > 0:34:59- Get up on a crate, Perkins.- Sir.
0:34:59 > 0:35:01- Pop over to Bremen.- Yes, sir.
0:35:01 > 0:35:02- Take a shufty.- Yes.
0:35:02 > 0:35:04- Don't come back. - Right you are, sir.
0:35:04 > 0:35:06LAUGHTER
0:35:06 > 0:35:10Goodbye, Perkins. God, I wish I was going too.
0:35:10 > 0:35:13Goodbye, sir. Or is it au revoir?
0:35:13 > 0:35:15No, Perkins.
0:35:16 > 0:35:19Satire was booming in clubs, on television
0:35:19 > 0:35:22and in the pages of the brilliant Private Eye,
0:35:22 > 0:35:25dedicated to unseating the old order.
0:35:25 > 0:35:28A new Establishment was in town.
0:35:28 > 0:35:31Since the early '60s, the Beatles had been pop royalty.
0:35:31 > 0:35:36For our last number I'd like to ask your help.
0:35:36 > 0:35:39Would the people in the cheaper seats clap your hands?
0:35:39 > 0:35:43And the rest of you, if you'd just rattle your jewellery.
0:35:47 > 0:35:51# Oh, yeah, I tell you something
0:35:51 > 0:35:55# I think you'll understand... #
0:35:55 > 0:36:00The phenomenal success of The Beatles had helped to spread the new culture beyond their young fans
0:36:00 > 0:36:04and they appealed to the middle-aged and the middle class as well.
0:36:04 > 0:36:06They seemed to make class irrelevant.
0:36:06 > 0:36:10But their manager, the middle-class Brian Epstein, had decided early on
0:36:10 > 0:36:14that The Beatles shouldn't frighten the horses.
0:36:14 > 0:36:19The Beatles were somewhat ill-clad, and their presentation was,
0:36:19 > 0:36:22well, left a little to be desired, as far as I was concerned.
0:36:22 > 0:36:25He took them out of their biker leathers and jeans,
0:36:25 > 0:36:27working-class clothes as he saw them,
0:36:27 > 0:36:30and put them in classless uniforms.
0:36:30 > 0:36:34But after a while, Lennon in particular was reluctant to be claimed,
0:36:34 > 0:36:37or perhaps reclaimed, by the middle class.
0:36:37 > 0:36:39He'd been inspired, like many others,
0:36:39 > 0:36:41by the black American blues tradition,
0:36:41 > 0:36:45as well as that working-class genius, Elvis Presley.
0:36:45 > 0:36:48# It's so lonely, baby
0:36:48 > 0:36:51# It's so lonely. #
0:36:51 > 0:36:54This is Menlove Avenue in Woolton, Liverpool.
0:36:54 > 0:36:57As you can see, it's a respectable semi-detached.
0:36:57 > 0:37:00In the late 1950s, this would have been seen
0:37:00 > 0:37:03as an aspirational lower-middle-class house.
0:37:04 > 0:37:07John Lennon was brought up here by his Aunt Mimi,
0:37:07 > 0:37:11a lower-middle-class boy who went to a grammar school,
0:37:11 > 0:37:14although later he wanted to be seen as a working-class hero.
0:37:14 > 0:37:20This wasn't unusual in the 1950s and '60s when many middle-class boys,
0:37:20 > 0:37:24and some women, looked to the working class for a cultural lead.
0:37:24 > 0:37:26So he was brought up here by his Aunt Mimi.
0:37:26 > 0:37:32What did she feel when his more definitely working-class friends came round, like Paul and George?
0:37:32 > 0:37:34What was her view of that?
0:37:34 > 0:37:36Well, of course, you know,
0:37:36 > 0:37:39this is where the class system kind of kicks in a little bit
0:37:39 > 0:37:42because this is Woolton, Mendips, situated in Woolton,
0:37:42 > 0:37:46and it has always been a much sought-after area in which to live.
0:37:46 > 0:37:49I mean, I was brought up in Woolton as a young lad,
0:37:49 > 0:37:52and I think there was some alarm
0:37:52 > 0:37:57because, of course, these were boys coming from council estates
0:37:57 > 0:38:03and there was that feeling that maybe this was the rougher element.
0:38:03 > 0:38:06You know, common might be the word that would be bandied about.
0:38:06 > 0:38:10I think she was worried he may start being an impressionable lad.
0:38:10 > 0:38:12He might start wearing, you know, the Teddy Boy gear
0:38:12 > 0:38:15and start speaking in that Scouse accent,
0:38:15 > 0:38:19which she abhorred because this is Woolton.
0:38:19 > 0:38:23We're talking about John Lennon here, making a dive towards the working class
0:38:23 > 0:38:26and getting some sort of energy from it at that time.
0:38:26 > 0:38:29Well, I...I mean, the connection is rock'n'roll, isn't it?
0:38:29 > 0:38:34It was Elvis Presley that had such a huge impact on him
0:38:34 > 0:38:37but, of course, he was a young lad in England
0:38:37 > 0:38:40so, thankfully, we've got Lonnie Donegan.
0:38:40 > 0:38:42# The Rock Island Line is a mighty good road
0:38:42 > 0:38:44# The Rock Island Line is the road to ride... #
0:38:44 > 0:38:47Lonnie Donegan kind of cut across all the classes
0:38:47 > 0:38:50and it was a melting pot.
0:38:50 > 0:38:53Skiffle was a melting pot, live-played skiffle, it was acoustic,
0:38:53 > 0:38:56you could create your own instruments from...
0:38:56 > 0:38:58You could deploy it with a washboard and a...
0:38:58 > 0:39:00And it was inclusive.
0:39:00 > 0:39:03And so, basically, it brought together people
0:39:03 > 0:39:06from different backgrounds to make bands.
0:39:09 > 0:39:13From skiffle to the Beatles, the Kinks, the Who and the Rolling Stones,
0:39:13 > 0:39:15in a few short years it was these voices,
0:39:15 > 0:39:17some from the lower rungs of society,
0:39:17 > 0:39:20that were now heard above all others.
0:39:20 > 0:39:24The explosion of pop music in the 1960s took us all over.
0:39:24 > 0:39:27It was written by the musicians themselves, for a start,
0:39:27 > 0:39:30our generation. It spoke to us about us.
0:39:30 > 0:39:33And it seemed to be inclusive of all classes and all cultures -
0:39:33 > 0:39:36one sound fitted all.
0:39:36 > 0:39:39And most of all, it was so very good.
0:39:39 > 0:39:42It was on a par with all the other arts at the time,
0:39:42 > 0:39:44but it was also totally accessible.
0:39:44 > 0:39:47It was the essence of the '60s and it was its promise.
0:39:49 > 0:39:52# ..All day and all of the night. #
0:39:55 > 0:39:57The young had a whole new set of heroes,
0:39:57 > 0:40:00many of whom, like themselves, came from working-class backgrounds.
0:40:00 > 0:40:04As well as pop musicians, there were working-class artists
0:40:04 > 0:40:06like David Hockney from Bradford,
0:40:06 > 0:40:09the '60s superstar who had become one of our most eminent artists.
0:40:09 > 0:40:11There were writers and actors,
0:40:11 > 0:40:14and they could come here, to Carnaby Street,
0:40:14 > 0:40:18where another working class hero, a former Glasgow welder, John Stephen,
0:40:18 > 0:40:20became the lord of Carnaby Street
0:40:20 > 0:40:24and attracted all the dedicated followers of fashion.
0:40:24 > 0:40:28Most of these boys and the girls
0:40:28 > 0:40:31who come to us have got ideas of their own,
0:40:31 > 0:40:32set ideas of their own,
0:40:32 > 0:40:35and most of them have got very good taste,
0:40:35 > 0:40:37which is much more than their parents
0:40:37 > 0:40:39and their parents' parents had before.
0:40:39 > 0:40:43On all sides, our culture was becoming less rigid.
0:40:43 > 0:40:46The old dress codes that had pigeonholed people's status
0:40:46 > 0:40:48were falling by the wayside.
0:40:48 > 0:40:52It was beginning to be much more difficult to identify someone's class,
0:40:52 > 0:40:55particularly the young, by the way they dressed.
0:40:55 > 0:40:58Fashion no longer came down from on high via Paris
0:40:58 > 0:41:01or the likes of the Princess Margaret set.
0:41:01 > 0:41:03Hats were finished, gloves were thrown away,
0:41:03 > 0:41:07jeans became ubiquitous, but there was a foppishness in the air.
0:41:07 > 0:41:10The working-class dandy replaced the Regency buck.
0:41:10 > 0:41:12And, of course, there was sex.
0:41:12 > 0:41:17As Philip Larkin said, "Sexual intercourse began in 1963,
0:41:17 > 0:41:19"which was rather late for me," he wrote,
0:41:19 > 0:41:24"between the end of the Chatterley ban and The Beatles' first LP."
0:41:24 > 0:41:29Philip Larkin's poem singles out DH Lawrence's explicit novel, Lady Chatterley's Lover,
0:41:29 > 0:41:34written in the '20s, but suppressed till 1960, as signalling a sexual revolution.
0:41:34 > 0:41:40But this revolution was propelled less by the mass sales of Lady Chatterley
0:41:40 > 0:41:43and more by the mass production of the birth-control pill.
0:41:43 > 0:41:47Thousands of women were free from constant childcare and went to work.
0:41:47 > 0:41:50Family incomes and aspirations rose.
0:41:50 > 0:41:53So, perhaps, did the sum of human happiness.
0:41:54 > 0:41:58We're sticking broadly to the arts in these programmes
0:41:58 > 0:42:01but in 1959 the scientist and novelist, CP Snow,
0:42:01 > 0:42:04delivered a lecture called The Two Cultures,
0:42:04 > 0:42:07which spoke of the rift between the arts and the sciences.
0:42:07 > 0:42:11There were the beginnings of a technological revolution,
0:42:11 > 0:42:14one whose consequences would eventually bite, as we'll see.
0:42:14 > 0:42:18But for now, the white heat of technology was feted and fed
0:42:18 > 0:42:21by young scientists from schools like this one,
0:42:21 > 0:42:24Harrow High School, a former grammar school,
0:42:24 > 0:42:28where Sir Paul Nurse, Nobel prize-winning geneticist and president of the Royal Society,
0:42:28 > 0:42:31set out on a scientific path in the 1960s.
0:42:31 > 0:42:33You know, you never forget when you're 11, do you?
0:42:33 > 0:42:37Oh, is this scrubbed wooden tops and Bunsen burners
0:42:37 > 0:42:38and that sort of thing?
0:42:38 > 0:42:41When it was a lab, the floor was the same
0:42:41 > 0:42:44and the windows were the same but it was all these wooden benches.
0:42:44 > 0:42:46- That's right.- They were beautiful.
0:42:46 > 0:42:47You were at this school in the '60s.
0:42:47 > 0:42:51Did you feel you were a different lot from those doing arts,
0:42:51 > 0:42:53who were doing English, history and languages?
0:42:53 > 0:42:57Do you know, I did, because this is sort of anecdotal
0:42:57 > 0:43:00but I have a feeling, I came from a working-class family,
0:43:00 > 0:43:04and I had a feeling it was easier for me to do science than the arts
0:43:04 > 0:43:08because at home I hadn't, you know, I'd never been to the theatre,
0:43:08 > 0:43:11I'd never been to a concert, we didn't have books and novels,
0:43:11 > 0:43:15whereas science, it was more of a level playing field.
0:43:15 > 0:43:19And there was something else. You know, my dad was a fitter.
0:43:19 > 0:43:21He worked with his hands.
0:43:21 > 0:43:24When you do science, there's that... You work with your hands too,
0:43:24 > 0:43:26so I felt more comfortable with that.
0:43:26 > 0:43:30And there was a surge of new ideas, new ambitions,
0:43:30 > 0:43:32with a new tranche of people doing it.
0:43:32 > 0:43:36Do you feel the same was happening in science at that time?
0:43:36 > 0:43:40I do. I think it was the beginning of a major expansion in science.
0:43:40 > 0:43:43And of course CP Snow himself, when he wrote his book,
0:43:43 > 0:43:48was, in fact, interested in driving science because of driving wealth.
0:43:48 > 0:43:52I think that scientists like Paul Nurse make a nonsense
0:43:52 > 0:43:55of any barrier between a creative and a scientific imagination.
0:43:55 > 0:43:58But when CP Snow talked of two cultures,
0:43:58 > 0:44:02he probably still thought of the arts as something traditional and mainly for the elite.
0:44:05 > 0:44:07With popular culture so dominating,
0:44:07 > 0:44:12it seemed at the time that it took the energy out of the traditional arts
0:44:12 > 0:44:14and they were in decline, but not so.
0:44:14 > 0:44:17Behind me at Covent Garden, it was the time of Maria Callas
0:44:17 > 0:44:20and of Nureyev and Fonteyn whose fame on the stage of ballet
0:44:20 > 0:44:22has never been equalled before or since.
0:44:22 > 0:44:25The orchestras were playing in Liverpool, in Edinburgh,
0:44:25 > 0:44:28in Birmingham and, of course, in Manchester.
0:44:28 > 0:44:30The philanthropist, Vivien Duffield,
0:44:30 > 0:44:34has been involved with opera and ballet for many years.
0:44:34 > 0:44:38She's given £100 million to the arts and arts education.
0:44:38 > 0:44:42How did she regard the connection between class and high culture?
0:44:42 > 0:44:44The English upper, upper class,
0:44:44 > 0:44:47I'll probably get shot down for saying this,
0:44:47 > 0:44:49has never really been interested in culture.
0:44:49 > 0:44:52They're interested in visual culture.
0:44:52 > 0:44:54They've got wonderful possessions
0:44:54 > 0:44:57and they're probably very interested in museums,
0:44:57 > 0:45:02but if you look at the patrons of the arts in the last 50 years
0:45:02 > 0:45:07I don't think there are any aristocrats included in that list.
0:45:07 > 0:45:12If you looked at the list of funders, being mainly a lot of Jewish people,
0:45:12 > 0:45:15not entirely, of course, because people like the Sainsburys were not.
0:45:15 > 0:45:20Was there a sense in which the working class just didn't get to places like this?
0:45:20 > 0:45:25I don't think they were deliberately excluded, but there was an amphitheatre in those days,
0:45:25 > 0:45:28and there was a totally separate entrance to the amphitheatre.
0:45:28 > 0:45:33People who went to the amphitheatre didn't even think they were at the Royal Opera House.
0:45:33 > 0:45:34They had their own bar upstairs,
0:45:34 > 0:45:37they had that horrid, narrow, little staircase
0:45:37 > 0:45:40and they did not in any way mingle.
0:45:40 > 0:45:43And so one might have got the impression,
0:45:43 > 0:45:45if you came in the front door,
0:45:45 > 0:45:47you would think it was all knobs and swells
0:45:47 > 0:45:50because you never saw anybody else
0:45:50 > 0:45:52but they were there, and they were upstairs.
0:45:52 > 0:45:56Nureyev and Fonteyn led
0:45:56 > 0:46:00a great renaissance of interest as well as of artistic mastery here, didn't they?
0:46:00 > 0:46:02It was Beatlemania.
0:46:02 > 0:46:06I mean, what happened to The Beatles happened here to Nureyev and Fonteyn.
0:46:06 > 0:46:09I always remember, people used to sleep - you're too young -
0:46:09 > 0:46:11- but people used to sleep... - No, I'm not.
0:46:11 > 0:46:15..do you remember? They used to sleep on Floral Street all the way round,
0:46:15 > 0:46:16- Yeah.- ..waiting for tickets.
0:46:16 > 0:46:19So the more traditional arts were booming too,
0:46:19 > 0:46:22in London and, to some degree, around the country.
0:46:22 > 0:46:26But were we looking at two aspects of one culture?
0:46:26 > 0:46:27So there were these two strands,
0:46:27 > 0:46:31one rooted in Covent Garden the opera, the ballet and so on,
0:46:31 > 0:46:33and the other rooted in popular culture -
0:46:33 > 0:46:36popular music, photography, fashion.
0:46:36 > 0:46:39But were they part of the same spectrum in the end?
0:46:39 > 0:46:41Were they all to do with quality?
0:46:41 > 0:46:43I thought they were,
0:46:43 > 0:46:46and I think it's become increasingly clear that they are.
0:46:48 > 0:46:52The middle and upper classes had lost exclusive hold
0:46:52 > 0:46:54over forms of artistic expression.
0:46:54 > 0:46:56Culture itself was more open.
0:46:56 > 0:46:58The Open University was about to start up,
0:46:58 > 0:47:01the most democratic university we'd ever had
0:47:01 > 0:47:04and, underpinned by the BBC, a great success.
0:47:04 > 0:47:06But as the decade moved on,
0:47:06 > 0:47:09it also seemed as if the voices that had articulated the frustrations
0:47:09 > 0:47:11and energy of the lower classes
0:47:11 > 0:47:15had themselves become a new middle and upper class.
0:47:15 > 0:47:19Many of our pop stars now aped the gentry, buying big country houses,
0:47:19 > 0:47:21while others, John Lennon among them,
0:47:21 > 0:47:26were absorbed by the new hippy culture imported from America.
0:47:26 > 0:47:29There was a distinct dress code at work here.
0:47:29 > 0:47:30If you were dressed as a hippy,
0:47:30 > 0:47:34you were likely to be new posh or old middle class.
0:47:34 > 0:47:37Up to this point we'd seemed less marked by the way we spoke,
0:47:37 > 0:47:40the way we dressed, we liked the same things,
0:47:40 > 0:47:43we liked the same music, there's a feeling of coming together.
0:47:43 > 0:47:48But was it like that or was this just a clever regrouping by the establishment?
0:47:48 > 0:47:51Were they just getting ready for their next move?
0:47:51 > 0:47:54The so-called spirit of the '60s was more or less over.
0:47:54 > 0:47:56The Beatles broke up
0:47:56 > 0:47:58and the skinheads had just begun to appear,
0:47:58 > 0:48:01defining themselves against the middle-class hippies.
0:48:01 > 0:48:03And, unlike their predecessors, the mods,
0:48:03 > 0:48:07they seemed to have no-one to speak for them, or not quite yet.
0:48:09 > 0:48:10The economy was going bust
0:48:10 > 0:48:15and the white heat of technology had helped put Liverpool Docks
0:48:15 > 0:48:17as well as much else out of business.
0:48:17 > 0:48:22That terrific creative energy seemed to be running out of steam.
0:48:22 > 0:48:25We were entering a darker period. There was a recession.
0:48:25 > 0:48:29What was left of our manufacturing industry took another hammering
0:48:29 > 0:48:34as we can see here, in Liverpool, with the steep decline of the docks.
0:48:34 > 0:48:39The '70s were very tough on those optimisms.
0:48:39 > 0:48:43The quadrupling of the oil price in '73/'74.
0:48:43 > 0:48:45The stagflation,
0:48:45 > 0:48:47the under-performance of the British economy,
0:48:47 > 0:48:49growing industrial strife,
0:48:49 > 0:48:53the break-up of the post-war political consensus which made us,
0:48:53 > 0:48:56which we so liked and so felt at home with.
0:48:56 > 0:48:59I think that knocked a good bit of the stuffing out of us,
0:48:59 > 0:49:02and the areas where the fight seems to go on now,
0:49:02 > 0:49:07and thank God it does, is trying to retain the high seriousness strand which was very much part of this.
0:49:07 > 0:49:10- Mm. - It's what Richard Hoggart once called
0:49:10 > 0:49:13"the bump of social purpose of the early post-War years,"
0:49:13 > 0:49:17which some would deride as bookishness, excessive scholarly.
0:49:17 > 0:49:19- Or being too serious. - Or being too serious.
0:49:19 > 0:49:22It's interesting that we can use,
0:49:22 > 0:49:27- you can be accused of being too serious.- Exactly.
0:49:27 > 0:49:31It's very revealing. It's a kind of reverse class antagonism.
0:49:31 > 0:49:34- Mm.- Don't use the long words.
0:49:34 > 0:49:37Women, come and join us!
0:49:37 > 0:49:41The vacuum left by a seeming loss of confidence in the '70s
0:49:41 > 0:49:43was beginning to be filled by other groupings
0:49:43 > 0:49:47that were just starting to stake their claim to acceptance.
0:49:47 > 0:49:51Meanwhile, the new '70s heroes, like David Bowie, were playing with gender and identity.
0:49:51 > 0:49:54Did this mean we were now identifying ourselves
0:49:54 > 0:49:56culturally in a new way?
0:49:56 > 0:49:59Had cultural distinctions replaced those of class?
0:49:59 > 0:50:03Most people belonged to several tribes.
0:50:03 > 0:50:05They belonged to perhaps an ism, feminism,
0:50:05 > 0:50:09if it's Gay Rights, that's centrally important to them,
0:50:09 > 0:50:11but at the same time they don't forget
0:50:11 > 0:50:13where they came from and what made them,
0:50:13 > 0:50:16and it depends on the question, the mood, the moment, the anxiety,
0:50:16 > 0:50:19state of mind, which is to the fore.
0:50:19 > 0:50:21And that's the problem with class, it lurks.
0:50:21 > 0:50:23You'll find this in newspaper coverage.
0:50:23 > 0:50:25When somebody becomes very prominent
0:50:25 > 0:50:29in one of those groups where class doesn't seem to be the determinant,
0:50:29 > 0:50:31certainly not the number-one pacemaker, nowhere near,
0:50:31 > 0:50:35when the profile is written in the Guardian or the Observer or wherever it is,
0:50:35 > 0:50:37when they become a bit of a figure for the first time,
0:50:37 > 0:50:40background and schooling, right up there,
0:50:40 > 0:50:43and if there's a heroic element of social mobility,
0:50:43 > 0:50:47right up there, absolutely integral to the understanding of everybody.
0:50:47 > 0:50:49We'll never get out of it.
0:50:50 > 0:50:54Some of Fay Weldon's comic novels of the 1970s
0:50:54 > 0:50:57played with the status of women in society.
0:50:57 > 0:51:00I asked her if she felt that class was part of that equation.
0:51:00 > 0:51:06Was that outside class, do you think, the Women's Movement?
0:51:06 > 0:51:09I think it was a very middle-class movement, actually.
0:51:09 > 0:51:10I think it tended to be
0:51:10 > 0:51:14professional and middle-class women
0:51:14 > 0:51:17who were protesting at the state of the world
0:51:17 > 0:51:22because they wanted to be active, they wanted to join the community.
0:51:22 > 0:51:26Men wouldn't let them, which was very true at the time.
0:51:26 > 0:51:30Working women tended to be rather grateful to be allowed to stay at home
0:51:30 > 0:51:33while their husbands provided the money.
0:51:33 > 0:51:39So, in a way, what these educated women were doing
0:51:39 > 0:51:43was actually making life extremely difficult for the uneducated women.
0:51:43 > 0:51:45You really think that?
0:51:45 > 0:51:49Yes. Yes. I mean, everybody has to go out and work.
0:51:49 > 0:51:52Once upon a time, one male wage would keep a family.
0:51:52 > 0:51:55One male wage no longer will because, almost,
0:51:55 > 0:51:58the women went out to work, so, you know,
0:51:58 > 0:52:01the value of the wage dropped
0:52:01 > 0:52:03because you had doubled the workforce.
0:52:03 > 0:52:05The Yorkshire poet, Tony Harrison,
0:52:05 > 0:52:08also felt that the more basic aspects of class,
0:52:08 > 0:52:11the significance of accent for social distinction, for example,
0:52:11 > 0:52:14had not faded as we might have thought.
0:52:14 > 0:52:16His poem, Them And Uz,
0:52:16 > 0:52:20recalls a schoolmaster mocking him for his pronunciation.
0:52:20 > 0:52:24"We say 'us' not 'uz', TW.
0:52:24 > 0:52:26"That 'shut my trap'
0:52:26 > 0:52:30"I doff my flat As as in 'flat cap'
0:52:30 > 0:52:34"My mouth all stuffed with glottals
0:52:34 > 0:52:38"Great lumps to hawk up and spit out.
0:52:38 > 0:52:40"Enunciate."
0:52:42 > 0:52:45First thing I did for the National Theatre in 1973
0:52:45 > 0:52:48was Le Misanthrope of Moliere.
0:52:48 > 0:52:52And I always remember in the interval
0:52:52 > 0:52:58hearing a woman with the class of voice I was...
0:52:58 > 0:53:02creating a poetry to undermine, saying,
0:53:02 > 0:53:06"He has such a command over language,
0:53:06 > 0:53:09"but they say he comes from Sheffield."
0:53:09 > 0:53:13And so it was still going on.
0:53:13 > 0:53:16This was a typical, cultural audience at a first night, you know.
0:53:16 > 0:53:18Do you think it still goes on?
0:53:18 > 0:53:22Well, I thought the battle had been won,
0:53:22 > 0:53:26but people keep telling me that it still goes on.
0:53:26 > 0:53:28What was the battle as you saw it?
0:53:28 > 0:53:31Not to, as I said in the Them And Uz poem,
0:53:31 > 0:53:36only the drunken porter part is available to people with my voice, you know.
0:53:36 > 0:53:38We are the rude mechanicals.
0:53:38 > 0:53:40Yes, yes. We are the rude mechanicals, yeah.
0:53:40 > 0:53:43That's the only part we can play, rude mechanicals.
0:53:43 > 0:53:46That used to annoy me intensely.
0:53:46 > 0:53:47Yeah, yeah. Me too.
0:53:47 > 0:53:51And it was only when I did the Mystery Plays
0:53:51 > 0:53:55and got Northern actors to, you know, doing verse
0:53:55 > 0:54:02that I felt I was reclaiming, um... the energy of classical verse
0:54:02 > 0:54:05in the voices that it was created for.
0:54:05 > 0:54:08The fragmentation of our cultural battles
0:54:08 > 0:54:12and the political conflicts on all sides left many of us a bit confused.
0:54:12 > 0:54:17It's perhaps not so surprising that in hard times our tastes seem to turn back
0:54:17 > 0:54:21to an Edwardian world where everyone knew their place.
0:54:21 > 0:54:23The massive popularity of Upstairs, Downstairs,
0:54:23 > 0:54:25with its snobbery and forelock tugging,
0:54:25 > 0:54:27seemed to prove the point in the '70s.
0:54:27 > 0:54:29You remember Lady Pendlebury,
0:54:29 > 0:54:33she came here to dine once or twice last season.
0:54:33 > 0:54:36She was lady-in-waiting to the Queen as Princess of Wales.
0:54:36 > 0:54:39Thin, angular person.
0:54:39 > 0:54:40Very sallow skin.
0:54:40 > 0:54:43Indeed, I remember Lady Pendlebury, Mrs Bridges,
0:54:43 > 0:54:47she had a regrettable habit of throwing her head back when she laughed.
0:54:47 > 0:54:51Edward nearly had the potatoes knocked out of his hand when he was serving them.
0:54:51 > 0:54:54In the present, too, there were enough young people
0:54:54 > 0:54:57aspiring to climb a conventional class ladder
0:54:57 > 0:54:59to make it the butt of popular humour.
0:54:59 > 0:55:02Do we have a fondue set on our wedding list, pet?
0:55:02 > 0:55:04We will have tomorrow.
0:55:04 > 0:55:06Alan's mother bought us that at Harrods,
0:55:06 > 0:55:08she has an account there, you know?
0:55:08 > 0:55:11Oh, and these lovely table mats, these are new.
0:55:11 > 0:55:12Well, hunting scenes.
0:55:12 > 0:55:16Just haven't had them out before. They were a present from Auntie Elsie.
0:55:16 > 0:55:19Oh, your Auntie Elsie, how is she, Brenda?
0:55:19 > 0:55:22Is she still a cleaner down the brewery?
0:55:24 > 0:55:26By the mid-1970s,
0:55:26 > 0:55:29was the great blossoming of the '60s already blowing away in the wind?
0:55:29 > 0:55:31Were we back where we started from?
0:55:31 > 0:55:36Well, the old establishment was now being reinforced by the new super-wealthy,
0:55:36 > 0:55:39and its opposite, the lower classes, were themselves starting
0:55:39 > 0:55:41to become marginalised, becoming an underclass.
0:55:41 > 0:55:44But there was life in the old dog yet.
0:55:44 > 0:55:47There were still a few echoes of the angry young men
0:55:47 > 0:55:49of the '50s and '60s in the Wednesday Play.
0:55:49 > 0:55:52There was still hard hitting drama with tough humour
0:55:52 > 0:55:54and no time for middle-class hypocrisies.
0:55:54 > 0:55:57We see it in Jim Allen's play, The Spongers,
0:55:57 > 0:56:00set on the day of the Queen's Jubilee.
0:56:00 > 0:56:01From the council.
0:56:01 > 0:56:03Oh blimey, what's up?
0:56:03 > 0:56:05- Mrs Crosby?- Yeah.
0:56:05 > 0:56:08Actually, I'm a certificated bailiff and I've come to...
0:56:08 > 0:56:11- Oh.- You are Mrs Crosby?- Yeah.
0:56:11 > 0:56:13Yeah, I'm dealing with you. There's £262 owing.
0:56:13 > 0:56:15I must advise that I've got to collect this now.
0:56:15 > 0:56:18- I haven't got it.- £262. - I haven't got it.
0:56:18 > 0:56:20Eh, eh. Oh, the Queen, the Queen.
0:56:20 > 0:56:24Turn the Queen the other way, you bloody Communist.
0:56:24 > 0:56:27Get her upright. The right way up, the Queen.
0:56:27 > 0:56:30Put the Queen up...the right way up. The Queen!
0:56:30 > 0:56:32Use your bloody head, the other way!
0:56:32 > 0:56:34'Ello.
0:56:34 > 0:56:38And then there was punk, out of the depths, it seemed.
0:56:38 > 0:56:40The '70s version of the angry young men.
0:56:40 > 0:56:44Finally, here was the voice that could speak for the skinheads
0:56:44 > 0:56:46and for a new generation of youth.
0:56:46 > 0:56:48It had real energy and fury
0:56:48 > 0:56:51and it upset both the old and the new middle classes,
0:56:51 > 0:56:53sweeping away the remnants of hippydom.
0:56:54 > 0:56:57But it seemed to come as a last gasp
0:56:57 > 0:57:00rather than able to kick-start something new.
0:57:00 > 0:57:05Its influence, however, would be felt in the years ahead.
0:57:05 > 0:57:07CHEERING
0:57:07 > 0:57:10# God save the Queen
0:57:10 > 0:57:12# She ain't no human being
0:57:12 > 0:57:15# And there's no future
0:57:15 > 0:57:18# In England's dreaming. #
0:57:18 > 0:57:23Yet it was hard to hear the Sex Pistols' anthem in the summer of 1977
0:57:23 > 0:57:26above the clamour of pro-monarchy feeling.
0:57:26 > 0:57:29The country was apparently gripped by the excitement
0:57:29 > 0:57:31of the Queen's Silver Jubilee.
0:57:31 > 0:57:34The desire of most of us to better ourselves,
0:57:34 > 0:57:36to be part of the middle classes,
0:57:36 > 0:57:39had led not so much to a sweeping away of social barriers
0:57:39 > 0:57:41as a redefining of them.
0:57:41 > 0:57:42Thank you very much.
0:57:42 > 0:57:45Less than two years later, we would enter a new era.
0:57:45 > 0:57:47Very excited, very aware of...
0:57:47 > 0:57:50And when we listened to the distinctive voice of Mrs Thatcher,
0:57:50 > 0:57:55what we heard were the clear tones of the old BBC received pronunciation,
0:57:55 > 0:57:58that accent once so essential for the upwardly mobile
0:57:58 > 0:58:01and which we briefly thought had gone for ever.
0:58:01 > 0:58:06Were any of the gains of these post-war decades to stay with us?
0:58:06 > 0:58:09There had been a marvellous surge of energy which had given us,
0:58:09 > 0:58:13at the very least, what appeared to be a shared culture on a very high level.
0:58:13 > 0:58:16It was now the case that talent and skill,
0:58:16 > 0:58:20whether in the service of entertainment or high seriousness, could transcend class.
0:58:20 > 0:58:25So, had culture replaced class as a truer way of saying who you were?
0:58:25 > 0:58:28Did your birth still mean that that was your destiny,
0:58:28 > 0:58:30as it had done for centuries?
0:58:30 > 0:58:34Or was this period a little splurge, a little bubble,
0:58:34 > 0:58:37that was going to burst while the others up there regrouped?
0:58:37 > 0:58:40This is what we're going to look at in the culture
0:58:40 > 0:58:43between Margaret Thatcher from Grantham Grammar
0:58:43 > 0:58:45and David Cameron from Eton College.
0:58:56 > 0:58:58Subtitles by Red Bee Media Ltd