1963: The Year of the Revolution: How Youth Changed the World with Music, Art, and Fashion
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Ariel Leve and Robin Morgan's oral history 1963: The Year of the Revolution is the first book to recount the kinetic story of the twelve months that witnessed a demographic power shift—the rise of the Youth Quake movement, a cultural transformation through music, fashion, politics, and the arts. Leve and Morgan detail how, for the first time in history, youth became a commercial and cultural force with the power to command the attention of government and religion and shape society.
While the Cold War began to thaw, the race into space heated up, feminism and civil rights percolated in politics, and JFK’s assassination shocked the world, the Beatles and Bob Dylan would emerge as poster boys and the prophet of a revolution that changed the world.
1963: The Year of the Revolution records, documentary-style, the incredible roller-coaster ride of those twelve months, told through the recollections of some of the period’s most influential figures—from Keith Richards to Mary Quant, Vidal Sassoon to Graham Nash, Alan Parker to Peter Frampton, Eric Clapton to Gay Talese, Stevie Nicks to Norma Kamali, and many more.
mold in one way or another. It wasn’t just music, but art. I’d wanted to be a jazz drummer and ended up learning how to use a camera at art school two days a week. It was in Ealing, just ’round the corner from the club where the Stones and Eric Clapton and all our great bands used to play. At art school you’d find people aged sixteen to eighteen who were just killing time before they had to get a proper job, but somehow the anarchic atmosphere let them experiment and explore themselves and their
None was being played on the BBC. You couldn’t put a Buddy Holly record on the BBC. You had to be Frank Sinatra, Matt Monro, or Helen Shapiro—someone presentable. “How Much Is That Doggie in the Window” and “I Saw a Mouse.” People were buying that stuff. Justin de Villeneuve [British sixties entrepreneur]: I’d spent the war as an evacuee in J.B. Priestley’s house, a grand manor house north of London, but it had full staff, cooks, and nannies in uniforms. [Children were sent to the country for
to our thing.” Mickie Most says, “No, I’m not going to Manchester to hear you play.” So we said, “We’ll pay your ticket and book you into the Midland Hotel.” We thought that was the Plaza of Manchester. We’d never been in it but we knew it was the place. And Mickie says yes and he comes to the Beachcomber Club in Oldham and we tell all the girls that this famous American record music producer is coming to see us. He’s not American, of course, but we knew he’d come looking like an American
know why the Cavern was ever so famous because there was lots of these coffee clubs. The girls always used to ask me to sing, and whatever band was playing they said, “Ooh, give Cilla a go.” There were all-night sessions, too. We’d go to a club, especially the Iron Door, at eight o’clock in the evening and finish at eight o’clock the following morning. Back in those days the dairies used to deliver milk and leave it on your doorstep, and after playing all night in the club we’d pinch a bottle of
what he was doing, and what happened was, his shop was very successful and the family decided to open another shop, and Bryan asked me if I would come and run the one that he’d been running. Hilton Valentine [guitarist, the Animals]: My father, after getting out of the army, was a bus conductor, and my mother raised the family. A job in the coal mines was the cream. Terrible jobs, but well paid. My brother, who was two years older than me, was buying records like the Comets, Gene Vincent, and