Armchair Nation

But what does your furniture point at?' asks the character Joey in the sitcom Friends on hearing an acquaintance has no TV. It's a good question: since its beginnings during WW2, television has assumed a central role in our houses and our lives, just as satellite dishes and aerials have become features of urban skylines. Television (or 'the idiot's lantern', depending on your feelings about it) has created controversy, brought coronations and World Cups into living rooms, allowed us access to 24hr news and media and provided a thousand conversation starters. As shows come and go in popularity, the history of television shows us how our society has changed. Armchair Nation reveals the fascinating, lyrical and sometimes surprising history of telly, from the first demonstration of television by John Logie Baird (in Selfridges) to the fear and excitement that greeted its arrival in households (some viewers worried it might control their thoughts), the controversies of Mary Whitehouse's 'Clean Up TV' campaign and what JG Ballard thought about Big Brother. Via trips down memory lane with Morecambe and Wise, Richard Dimbleby, David Frost, Blue Peter and Coronation Street, you can flick between fascinating nuggets from the strange side of TV: what happened after a chimpanzee called 'Fred J. Muggs' interrupted American footage of the Queen's wedding, and why aliens might be tuning in to The Benny Hill Show.

The modern Christmas was made by the Victorians and rooted in their belief in commerce, family and religion. Their rituals and traditions persist to the present day but the festival has also been changed by growing affluence, shifting family structures, greater expectations of happiness and material comfort, technological developments and falling religious belief. Christmas became a battleground for arguments over consumerism, holiday entitlements, social obligations, communal behaviour and the influence of church, state and media. Even in private, it encouraged reflection on social change and the march of time. Amongst those unhappy at the state of the world or their own lives, Christmas could induce much cynicism and even loathing but for a quieter majority it was a happy time, a moment of a joy in a sometimes difficult world that made the festival more than just an integral feature of the calendar: Christmas was one of British culture's emotional high points. Moreover, it was also a testimony to the enduring importance of family, shared values and a common culture in the UK. Martin Johnes shows how Christmas and its traditions have been lived, adapted and thought about in Britain since 1914. Christmas and the British is about the festival's social, cultural and economic functions, and its often forgotten status as both the most unusual and important day of the year

On August 22, 1922, near Macroom, County Cork, a single bullet from an unknown gunman killed Michael Collins, the Commander-in-Chief of the Irish Free State Army. The day Collins was buried, businesses across Dublin shut down as thousands lined the streets to pay their respects. And on that day, Michael Lyons, a cooper from the Guinness factory taking advantage of the day off, drowned quietly in Dublin's Royal Canal. In Ireland's Eye, Mark Anthony Jarman uses this confluence -- a famous death and an obscure death -- as the starting point for a meditation on the intertwined history of a nation and his pursuit of the circumstances of his grandfather's drowning. Thwarted by family gossip, aunts who can't drive shift, cousins more interested in pubs than lore, and his own fascination with the many Irelands that have been, Jarman finds what he's seeking despite, or perhaps because of, the antics and the unreliable histories. What he reconfigures is a revelation, and an enchanting and engrossing read.

In late twentieth-century England, inequality was rocketing, yet some have suggested that the politics of class was declining in significance, while others argue that class identities lost little power. Neither interpretation is satisfactory: class remained important to 'ordinary' people's narratives about social change and their own identities throughout the period 1968-2000, but in changing ways. Using self-narratives drawn from a wide range of sources - the raw materials of sociological studies, transcripts from oral history projects, Mass Observation, and autobiography - the book examines class identities and narratives of social change between 1968 and 2000, showing that by the end of the period, class was often seen as an historical identity, related to background and heritage, and that many felt strict class boundaries had blurred quite profoundly since 1945. Class snobberies 'went underground', as many people from all backgrounds began to assert that what was important was authenticity, individuality, and ordinariness. In fact, Sutcliffe-Braithwaite argues that it is more useful to understand the cultural changes of these years through the lens of the decline of deference, which transformed people's attitudes towards class, and towards politics. The study also examines the claim that Thatcher and New Labour wrote class out of politics, arguing that this simple - and highly political - narrative misses important points. Thatcher was driven by political ideology and necessity to try to dismiss the importance of class, while the New Labour project was good at listening to voters - particularly swing voters in marginal seats - and echoing back what they were increasingly saying about the blurring of class lines and the importance of ordinariness. But this did not add up to an abandonment of a majoritarian project, as New Labour reoriented their political project to emphasize using the state to empower the individual.

The fallout from Brexit and Covid-19, ongoing political turmoil, economic decline and calls for a second Scottish independence referendum make for deeply uncertain times in contemporary Britain. What will the country look like in five years from now? Will it even exist in its present form? Introducing you to all aspects of British history, geography, society, politics, economy and culture, this book guides you through the country's enduring features and recent trends: -Growing racial, religious, national and cultural diversity -Demographic shifts, including the move from a welfare state to a stakeholder society -The altered balance of power among government institutions, as the UK adapts to life outside the EU -Shifts in economic policy, following the impact of Brexit, Covid-19 and the war in Ukraine -Changing voter attitudes, with questions raised about the balance between the major political parties -The impact of social media and alternative communications channels on media, culture and politics. With key data, further reading suggestions and case studies on topics such as attitudes towards the monarchy, regional inequalities and national cuisine, Contemporary Britain is the ideal introduction for students and interested general readers alike.

The late 1950s and early 1960s was a period in its own right-neither the stultifying early to midfifties nor the liberating mid- to late-sixties-and an action-packed, dramatic time in which the contours of modern Britain started to take shape. These were the “never had it so good” years, in which mass affluence began to change, fundamentally, the tastes and even the character of the working class; when films like Saturday Night and Sunday Morning and TV soaps like Coronation Street and Z Cars at last brought that class to the center of the national frame; when Britain gave up its empire; when economic decline relative to France and Germany became the staple of political discourse; when “youth” emerged as a fully fledged cultural force; when the Notting Hill riots made race and immigration an inescapable reality; when a new breed of meritocrats came through; and when the Lady Chatterley trial, followed by the Profumo scandal, at last signaled the end of Victorian morality. David Kynaston argues that a deep and irresistible modernity zeitgeist was at work, in these and many other ways, and he reveals as never before how that spirit of the age unfolded, with consequences that still affect us today.

Performance and Professional Wrestling is the first edited volume to consider professional wrestling explicitly from the vantage point of theatre and performance studies. Moving beyond simply noting its performative qualities or reading it via other performance genres, this collection of essays offers a complete critical reassessment of the popular sport. Topics such as the suspension of disbelief, simulation, silence and speech, physical culture, and the performance of pain within the squared circle are explored in relation to professional wrestling, with work by both scholars and practitioners grouped into seven short sections: Audience Circulation Lucha Gender Queerness Bodies Race A significant re-reading of wrestling as a performing art, Performance and Professional Wrestling makes essential reading for scholars and students intrigued by this uniquely theatrical sport.

Making substantial use of new and underexplored archive resources that provide a wealth of information and insight on the period in question, this book offers a fresh perspective on the major resurgence of creativity and international appeal experienced by British cinema in the 1960s